THE  GETTY  CENTER  LIBRARY 


THE 


PHOTOGRAPH 


AND 


AMBROTYPE    MANUAL: 

A    PRACTICAL  TEEATISE 

ON    THE   ART   OF   TAKING 

rOSITIVE  AND  NEGATIVE  PHOTOGRAPHS  ON 
PAPER  AND  GLASS, 

COMMONLY  KNOWN  AS  rHOTOGRAPHY, 
IX  ALL  ITS  branches; 

CONTAINING   ALL   THK    VARIOUS    RECIPKS   PRACTISED   BY   TilK    MOST  SUO- 
CESSFUL    OPEUATORS    IN    THE    UNITED    STATES. 

BY  N.  G.  BURGESS, 

PRACTICAL  PIIOTOGEAPUEK,  AND   MANUFACTUBER   OF   CIIEMICAIS 
FOR   THE   ART. 

SEVENTH    EDITION. 

NEW    YORK: 
HUBBARD,    BURGESS    &    CO., 

7S  EEADE  AND  99  CHUECH  STEEETS. 

LONDON:  TRUBNER  &  CO. 

18C1. 


I      ■ 


Entered  according  to  Act  of  Congress,  in  the  year  1S58, 

Bx  NATUAN  G.  BUIiGESS, 

la  the  Clerk's  Office  of  the  District  Court  of  the  United  States  for  the  Southern 
District  of  New  York. 


THE  GErrv  CENTER 
LIBRARY 


PREFACE. 


Thk  publication  of  the  Ambrotype  Manual,  by 
tlie  author  of  this  work,  a  short  tirae'since,  and 
the  great  demand  for  the  same,  has  induced  him 
to  enlai-ge  that  W(.>rk  by  the  addition  of  the  prac- 
tice of  Photogra])hy  in  all  its  branches. 

It  may  not  be  inappropriate  at  the  present 
time  to  refer  to  the  progress  of  this  wonderfnl 
art,  since  its  first  advent  in  1839,  and  to  note  its 
tendencies  and  its  effects,  to  trace  its  lead  ins: 
features  and  results  up  to  its  present  high  posi- 
tion in  the  scientific  world;  and,  finally,  to  mark 
out  the  commanding  results  which  it  is  destined 
yet  to  achieve  in  its  onward  progress  to  pei-- 
fection. 

The  Photogi-aphic  Art  was  ushered  into  the 
world  on  the  day  when  the  immortal  Daguerre,  in 
1839,    announced    his   sublime    discovery    to    the 


4:  PREFACE. 

French  savans,  and  it  Las  steadily  progressed  from 
that  day  to  the  present  time. 

It  lias  made  many  strides  towards  perfection, 
and  has  astonislied  all  with  its  accomplishments. 
In  the  short  space  of  eighteen  ^^ears,  what  has  it 
not  done  ? 

"From  the  small  and  almost  imperceptible  im- 
pression upon  the  silver  plate  first  exhibited  by 
Daguerre,  which  cunld  only  be  seen  at  a  certain 
anule  of  lio'ht,  and  that  very  dimly,  and  of  a  blue- 
ish  cold  to*ne,  to  the  magnificent  photograph  of  the 
size  of  life,  with  all  the  perfect  delineations  of 
light  and  shade,  wliat  a  wonderful  advance !  And 
tliese  great  improvements  have  been  so  gi-adual, 
that  few,  if  any,  could  mark  the  changes.  Yet  all 
will  acknowledge,  that  the  art  is  just  now  begin- 
ning to  attest  its  true  worth,  f^^r  wa  now  begin  to 
receive  the  homage  of  all  true  lovers  of  art.  The 
day  has  dawned  in  which  the  photographer  can 
command  even  the  service  of  the  artist,  whose 
highest  pride  should  be  to  copy  nature  in  all  her 
works.  For  now  we  can  exhibit  true  works  of  art 
drawn  with  the  pencilings  of  the  sun's  rays,  and 
drawn  with  such  an  unerring  cori-ectness  that  it 
were  sacrileo-e  to  touch  it  with  the  hand  of  the 
artist.     It  defies  the  artist's  skill.     It  fairly  out- 


PREFACE. 


vies  the  creations  of  a  Rapliael  or  a  Rubens  in 
portraiture,  and  in  the  other  certain  works  of  the 
pencil. 

Tlie  Photographic  Art  has  become  of  such  im- 
portance in  this  country,  that  many  persons  have 
embarked  large  amounts  of  capital  in  the  manu- 
facture of  materials  for  the  use  of  the  photographic 
artist.  The  inducement  has  been  fully  warranted 
irom  the  fact  that  all  these  persons  who  have  in- 
vested in  this  branch  of  commerce  have  been  fully 
rewarded. 

In  view  of  these  facts,  it  is  thought  proper  and 
necessary  to  embody  in  this  edition  of  the  work 
a  set  of  full  and  complete  practical  furmulae  for 
the  production  of  all  kinds  of  Photographs  on 
paper,  as  well  as  those  on  glass,  known  as  Am- 
brutypes.  The  aim  will  be  tu  gi\'e  only  such 
known  receipts  as  have  been  in  actual  practice  b}'' 
the  author  and  others,  and  to  explain  them  in  the 
plainest  and  most  explicit  manner  possible,  in 
order  that  the  least  practised  operator  may  reap 
the  benefit  from  the  perusal  of  the  work,  as  those 
of  more  mature  experience. 

The  practice  of  the  art  of  taking  Photographs  on 
paper  lias  been  attended  with  very  diverse  results 
in  the  United  States,  owing  in  a  great  degree  to 

1* 


6  TKEFAGK. 

the  fact  tliat  most  persons  who  have  embarked  in 
it  have  heretofore  been  Dasjuerreian  artists.  Thev 
imagined  thcit  it  only  required  the  necessary  skill 
and  experience  of  a  Daguerreian  artist  to  ren- 
der them  good  Photographers.  But  this  has  been 
soon  found  to  be  a  fallacy.  There  are  many  who 
are  skilful  in  the  process  known  as  the  Daguerreo- 
type, who  can  produce  specimens  of  that  art  which 
would  do  credit  to  the  profession,  who  nevertheless 
utterly  fail  in  this  Jiiglier  branch  of  Photography. 
The  reason  is  obviovis.  They  have  vainly  imagined 
that  only  the  same  care  was  necessary  in  tlie  paper 
process  that  was  demanded  in  the  manipulation  of 
the  silver  plate.  Put  how  soon  have  their  hopes 
of  success  been  blasted !  Where  the  ordinary  care 
bestowed  upon  a  Daguerreotype  would  produce 
satisfactory  results,  the  same  care  upon  a  Photo- 
gi-aph  on  paper  would  produce  a  worthless  picture. 
Hence  we  see  the  necessity  of  looking  into  a  higher 
range  of  art  fur  the  perfection  of  this  branch. 
And  as  we  approach  near  the  goal  of  perfection 
in  this  sublime  art,  so  much  the  more  does  it  de- 
mand of  its  votaries  greater  sacrifices  on  the  altar 
of  patience  and  perseverance,  more  nearly  resem- 
Ijling  the  long  and  weary  road  of  the  successful 
painter,  who  rises  in  his  profession  through  many 


PREFACE.  7 

years  of  patient  toil,  with  his  pencil  and  his  pallet, 
to  the  highest  eminence. 

i\.nd  the  day  ma_y  nut  be  far  distant  when  only 
those  who  have  been  fur  many  long  and  weary 
years  followers  of  the  Photographic  Art,  shall  be- 
come masters  of  their  profession. 

It  is  well,  therefore,  to  fully  comprehend  the 
greatness  of  the  task  one  assumes  who  embarks  in 
this  profession.  And  to  become  a  perfect  master 
of  it,  will  require  all  the  known  resources  of  his 
perseverance.  Therefore  such  aids  as  may  be 
found  in  the  experience  of  others,  will  be  given 
here,  and  it  is  trusted  may  be  found  of  essential 
service  to  those  who  may  purchase  the  work  and 
follow  the  art  as  a  profession. 

To  the  amateurs  this  work  will  no  doubt  be  ac 
ceptable  as  a  practical  treatise,  leading  them  into 
the  more  intricate  fields  of  practice  not  found  in 
scientific  works  on  kindred  subjects. 

Fortunately  for  this  beautiful  art,  the  number  of 
amateurs  is  increasing  in  the  United  States,  and  we 
trust  they  may  continue  to  augment  until  the  num- 
ber shall  equal  tliose  of  England  and  other  Euro- 
pean countries.  For  like  all  beautiful  arts,  the 
tempting  field  of  pleasurable  labor  here  opened,  is 
beckoning  onwards  a  host  of  fellow-laborers,  which 


8  PREFACE. 

will  render  the  task  of  ultimate  success  of  very 
easy  accomplisliment ;  and  it  is  trusted  they  will 
emulate  those  artists  in  England  who  have  so  will- 
ingly opened  their  stores  of  knowledge  to  the  pho- 
tographic world,  so  that  all  may  reap  the  benefit 
of  their  valued  experience. 


CONTENTS. 


PAGE 

Preface 3 

Introduction 0 


CIIAPTEE    I. 

History  and  Prosrress  of  the  Photographic  Art— Its  Introduction 
into  the  United  States — The  Discovery  or  Uses  of  the  various 
Chemicals — Positive  Photographs  on  Glass 19 

CHAPTER    II. 

Theory  of  the  Photographic  Process— Negative  and  Positive  Pic- 
tures—Negatives on  Paper  and  on  Glass — Positives  on  Glass — 
Theory  of  the  Positive  and  the  Negative  Process 30 


NEGATIVE    PROCESS. 

CHAPTER    I. 

On  the  Practice  of  the  Negative  Process  through  all  its  details— 
The  Manipulations— Cleaning  the  Plate- Coating  with  Collodion 
—Drying  tlie  same— Time  in  the  Camera— Developing— Re-devel- 
oping for  Intensity— Varnishing  the  Negative— Frames  or  Shelves 
for  Negatives— General  Remarks  on  the  Manipulation  of  the 
Negative  Process— Arrangement  of  the  Light — Use  of  the  Ca- 
mera, &c.,  &c S^ 


10  CONTENTS. 


CHAPTER    II. 

The  Nitrate  of  Silver  Bath  for  Negatives— Preparation  of  the  same — 
Formation  of  tlie  Iodide  of  Silver  for  the  Nitrate  Bath — On  the 
practice  of  the  Negative  Batli — Observations  on  the  use  of  the 
Negative  Bath — On  the  Intensity  of  tlie  Negative— Color  of  tlie 
Negative,  &c.,  &c 43 

CHAPTER   III. 

On  Photographic  Printing— Salting  Solutions — Salting  the  Paper — 
Silvering  the  Paper  with  Ammonia  Nitrate  of  Silver — Plain  Silver 
Solution — To  prepare  the  Albumen  for  Paper  Positives — Silvering 
Albumen  Paper — On  the  practice  of  printing  Negatives— Toning 
or  fixing  the  Print — Wasliing  the  Positive  Prints — Drying  the 
Pictures — Varnishing  and  Mounting  the  Prints 56 

CHAPTER    IV. 

To  copy  Daguerreotypes  and  other  Pictures  into  Photographs — Od 
Enlarging  Pictures — To  enlarge  Pictures  from  Daguerreotypes, 
Anibrotypes,  or  Photographs  ;  and  to  produce  Photographs  from 
them — To  make  Life-size  Photographs  on  Paper — Iron  Plioto- 
graphs,  or  Instantaneous  Printing — On  taking  Stereoscope  Pic- 
tures, Photographic  Views,  &c.,  &c 69 

CHAPTER    V. 

On  the  Preparation  of  Negative  Collodions — The  Formulae  for  Neg- 
ative Collodions — Mixing  various  Collodions — Dissolving  the  Io- 
dides— Double  Iodide  Collodions — The  celebrated  German  Pro- 
cess complete — The  Negative  Developing  Solutions — Re-develop- 
ing Process — Bichloride  of  Mercury  as  a  Re-developer — Fixii^g 
Solution — The  Toning  Baths — The  Ammonia  Nitrate  of  Silver 
Solution 81 

CHAPTER    VI. 

Details  of  the  various  Recipes  in  the  Photographic  Process— Quick 
Method  of  Silvering  and  Printing  Paper — Best  Method  of  Salting 
Papers-Test  for  good  Collodion  orGun-Cotton — Varnish  for  Posi- 
tives on  Paper — Instantaneous  Printing  Process — New  Method  of 


CONTENTS.  11 

varnishing  Positives— To  restore  Prints  that  have  changed  color — 
Cleaning  Glass  Plates— To  varnish  Negatives— Dextrine  Paste  for 
mounting  Pliotographs— Gum-Arabic  and  Gelatine— To  restore 
Silver  from  Old  Solutions— To  remove  AVater  from  Collodion,  and 
to  purify  it— Test  of  Hyposulphite  of  Silver  in  Positive  Prints — 
Printing  various  Backgrounds 97 

CHAPTEll    VII. 

Hints  and  Suggestions  in  regard  to  the  Negative  Process— Imper- 
fections peculiar  to  Negatives— How  to  avoid  them— Cautions  in 
taking  Negatives— Hints  and  Suggestions  in  regard  to  printing 
Positives  on  Paper— Cautions  in  regard  to  them— Imperfections 
found  in  Positives — How  to  avoid  them Ill 


AMBROTYPE   PROCESS. 

CHAPTER    VIII. 

The  Camera^Plate-holders  necessary  for  the  Camera— Prepanng 
the  Glasses— Plate-blocks  for  holding  the  Glasses— Cleaning  Sub- 
stances— Cleaning  the  Glasses — Cleaning  old  Glasses — Removing 
tlie  Varnish — Holding  Glasses  after  they  are  cleaned— Glasses 
used  a  number  of  times — Quality  of  Glasses  necessary  for  Am- 
brotypes 125 

CHAPTER    IX. 

Apparatus  for  Anibrotypes — Chemicals  used — Substances  for  finish- 
ing the  Picture — Preparation  of  the  Nitrate  Bath — To  Iodize  the 
Bath — Filtering  Process — Adding  Acid — Neutralizing  the  Bath — 
Full  Directions  for  keeping  the  Bath  in  order — Renewal  of  the 
Nitrate  of  Silver 131 

CHAPTER    X. 

The  Developing  Solutions — Manner  of  Compounding  them — Various 
Formula}  for  Developing  Solutions — Test  of  Acetic  Acid — The 
Fixing  Solutions — Cyanide  of  Potassium — Hyposulphite  of  Soda 
— Adding  Chloride  of  Silver 141 


12  CONTENTS. 


CHAPTEE    XI. 

On  the  Practice  of  the  Art  in  all  its  Details,  from  the  Cleaning  of 
the  Plate  to  the  Application  of  the  Fixing  Solution — Drying  the 
Picture 145 

CHAPTER    XII. 

Varnishing  the  Picture — Single  Glass  Process— Stereoscopic  Am- 
brotype — Trel)Ie  Glass  Process — Tiie  Double  Glass  Process — Cut- 
ting's Pateut-^The  Patent-leather  Process 151 

CHAPTER    XIII. 

The  Manufacture  of  Gun-Cotton — Test  of  the  Acids  employed — 
Washing  and  Drying  the  Gun-Cotton — Preparation  of  the  Collo- 
dion— Its  Nature  and  Properties^ — Ether  and  Alcohol— To  Iodize 
Collodion  for  Ambrotypes — Method  of  preserving  Collodion,  and 
keeping  it  ready  fur  use — Tests  of  good  Collodion — To  remove 

the  color  from  Collodion 157 

/ 

CHAPTER    XIV. 

Coloring  Ambrotypes — Colors  employed— Ambrotypes  for  Lockets 
— Taking  Views — Copying  Daguerreotypes  by  the  Ainbrotype 
Process — Copying  Engravings,  Statuary,  Machinery,  <fcc 106 

CHAPTER    XV. 

On  the  manner  of  Arranging  the  Light — The  Falling  of  the  same 
on  the  Drapery — Use  of  a  Diapiiragm — Light  on  the  Eyes- — Using 
Screens — Backgrounds — Eefleeturs— Diaphragm — Time  in  the  Ca- 
mera— Over-exposure,  and  Under-developing — Taking  Children's 
Portraits 174 

CHAPTER    XVI. 

Alcolio'ic  Solutions  for  pn-paring  Collodion — Iodide  of  Silver  Solu- 
tion— Bromide  of  Silver  Solution— Bromo-Iodide  of  Silver  Solu- 
tion—Saturated Solution  of  Iodide  of  Potassium  in  Alcohol— Of 
Bromide  of  Potassium— To  make  Ilydro-bromic  Acid 179 


CONTENTS.  13 


CHAPTEE    XVII. 

i'reparation  of  the  Varnishes^White  Copal  Varnish — Gnm-Jemar 
Varnish — Blaclj  Asplialtiim  Varnish — AVliite  Varnish  of  Shellac 
and  Copal — Thickened  Varnish  for  Cementing  Glasses,  in  place 
of  Canada  Balsam — Gum-shellac  Varnish  for  Plate-holders — Ap- 
plying the  Varnislies 189 

CHAPTER    XVIII. 

Causes  of  Failure  in  the  Practice  of  the  Art — Fogging  the  Pictures 
— To  detect  the  Fogging  of  Plates — Black  and  White  Specks  on 
the  Plates — Transparent  and  Opaque  Spots — Impurity  of  Chemi- 
cals—Spots or  Streaks  on  the  Glass  Plates 194 

CHAPTEE    XIX. 

Cautions  with  regard  to  using  the  various  Chemical  Substances  in 
making  Gun-Cotton — Use  of  Ether  and  Alcohol — Use  of  Cyanide 
of  Potassium — Nitrate  of  Silver — Cleaning  the  Hands — Solution 
for  cleaning  the  Hands — Hints  on  the  various  Processes  connected 
with  Positives  and  Negatives — To  render  Collodion  highly  Sensi- 
tive— The  Lampratype  Process 202 

CHAPTER    XX. 

Vocabulary  of  Photographic  Chemicals — Acetic  Acid — Alcohol — 
Ammonia — Bromine — Bromide  Of  Potassium — Carbonate  of  Soda 
— Cyanide  of  Potassium  —  Chloride  of  Gold  —  Hyposulphite  of 
Gold  —  Hyposulphite  of  Soda — Iodine — Iodide  of  Ammonia — 
Iodide  of  Potassium — Iodide  of  Silver — Protosulphate  of  Iron — 
Litmus — Nitric  Acid — Nitrate  of  Potash — Nitrate  of  Silver— Sul- 
phuric Acid — Properties  of  Ether — Properties  of  Water 211 

Weights  and  Measures 233 


INTRODUCTION 
THE  AMBKOTYPE  MAT^UAL. 


The  Photographic  Art,  as  known  and  practised 
at  the  present  time,  is  capable  of  a  great  variety  of 
modifications.  Among  these  are  positive  pictures 
on  gh^ss,  which,  on  account  of  their  imperish- 
ability, are  denominated  Ambrotypes — a  name 
given  to  them  by  Mr.  Cutting,  a  successful  artist 
of  Boston.  They  are  said  to  be  impervious  either 
to  air  or  water. 

It  is  by  this  name  that  all  positive  pictures  on 
glass  are  known  in  this  country.  They  are  attract- 
ing the  attention  of  the  Daguerreian  artists  from 
the  peculiarity  of  their  appearance,  and  the  new 
phenomena  of  their  production,  differing  so  widely 
from  the  Daguerreotype  process. 

A  desire  has  been  often  expressed  that  a  work 
written  by  a  practical  operator,  and  of  a  practical 


IG  INTRODUCTION. 

nature,  might  be  within  the  reach  of  those  who 
wish  either  to  begin  the  study  of  the  art  at  the 
outset,  or  to  modify  and  improve  the  practice  in 
which  they  may  be  ah-eady  engaged.  With  a 
view  to  meet  this  want,  the  present  work  has  been 
undertaken. 

It  is  designed  to  present  the  resuhs  of  a  long 
practical  experience,  and  of  a  uniform  series  of 
experiments  in  all  the  details  of  the  art,  together 
with  receipts  by  the  most  skilful  and  successful 
operators  of  the  present  day. 

Ambrotypes  being  positive  photographs  on 
glass,  it  will  necessarily  require  some  knowledge 
of  photography  to  fully  understand  the  so-called 
ambrotype  process. 

In  this  manual  will  be  found  such  practical  hints 
on  the  various  processes  (divested,  as  much  as  pos- 
sible, of  technical  expressions,  which  may  tend  to 
mislead  the  inexperienced  artist),  as,  with  a  little 
practice  under  the  supervision  of  one  who  has 
some  knowledge  of  manipulating,  will  enable  any 
person  to  master  the  art. 

The  patented  process  known  as  "  Cutting's  Pa- 
tent" has  tended  in  some  ineasm-e  to  retard  the 
efforts  of  many  who  were  desirous  to  work  by  this 
process.     At  present,  however,  certain  investiga- 


mXKODUCTION.  1 7 

tions  are  being  made  so  as  to  undeceive  the  public 
on  this  point,  and  we  can  see  the  good  results  of  a 
removal  of  this  drawback  to  the  successful  prac- 
tice of  this  beautiful  art.  Tliere  are  various  other 
methods  of  sealing  the  anibrotypes  which  will 
answer  as  well  as  those  indicated  in  the  patented 
process,  if  not  better,  which  no  one  need  be  de- 
terred from  adopting. 

In  this  work  will  be  found  detailed  the  many 
various  processes  which  have  been  adopted  by 
skilful  artists.  The  whole  operation  from  the  first 
cleaning  of  the  glass  plate  to  the  final  sealing  af 
the  picture  will  be  elucidated  and  explained  in 
such  a  clear  and  satisfactory  manner,  as  that  it 
may  be  hoped  that  the  amateur  may  make  great 
proficiency  in  his  practice  after  the  perusal*  of  the 
work. 

The  process,  however,  is  capable  of  such  a  va- 
riety of  changes,  all  tending  to  the  same  result, 
and  liable,  also,  to  a  slight  variation,  without  due 
care,  that  many,  perhaps,  who  may  adopt  the 
practice  will  meet  with  difficulties  where  none 
were  expected.  But  perseverance,  which  accom- 
plishes great  deeds  in  all  things,  will  at  length  re- 
ward the  industrious  student  in  this  almost  magic 
field  of  science.     We  believe  that  the  day  is  not 

2* 


18  LNTRODUCTION. 

far  distant  when  ambrotypes  will  be  classed  among 
tlie  most  beautiful  creations  of  the  Photographic 
Art,  and  command  the  wonder  and  regard  of  the 
picture-loving  public. 

The  art  is  capable  of  much  greater  variety  of 
effects  than  the  long-practised  Daguerreotype. 
Here  we  may  seal  a  picture  with  or  without  color- 
ing, and  make  the  same  picture  aj)pear  to  be 
colored  on  viewing  it  on  one  side,  and  uncolored 
on  viewing  it  on  the  other  side — in  truth,  viewing 
two  sides  of  the^face  with  only  one  portrait.  Added 
to  which  is  the  great  reduction  of  the  time  in  the 
camera,  by  which  moving  objects  and  views  may 
be  taken  without  reversing,  and  likenesses  of  young 
children  can  be  indelibly  fixed  on  the  glass  tablet. 

For  the  production  of  groups,  this  process  oifers 
many  facilities  not  possessed  by  any  other,  from 
the  fact  that  the  ordinary  iron  head-rests  may  be 
dispensed  with,  if  desirable,  and  an  easy,  graceful, 
and  natural  position  attained. 

These  and  other  considerations  render  the  Am- 
brotype  in  many  respects  superior  to  other  photo- 
graphic processes,  and  it  will  deservedly  command 
the  attention  of  all  artists  who  wish  to  excel  in 
this  profession. 


PHOTOGRAPHY. 


CHAPTER   I. 

HISTORY    AND   PROGRESS    OF   THE    PHOTOGRAPHIC    ART 

ITS    INTRODUCTION    INTO    THE    UNITED    STATES 

THE    DISCOVERY    OR   USES    OF   THE    VARIOUS    CHEMI- 
CALS  POSITIVE   PHOTOGRAPHS    ON    GLASS. 

The  history  and  progress  of  an  art  so  pecnliarly 
distinct  from  all  other  arts,  demands  from  its  vo- 
taries a  certain  knowledge  of  its  early  stages,  its 
introdnction  to  the  world,  and  its  authors  who 
brought  it  into  being. 

The  names  of  many  of  those  who  have  been  in- 
strumental in  jierfecting  it,  are  fast  passing  aw^ay, 
and  it  seems  befitting  that,  if  only  as  a  tribute  of 
respect  to  their  memories,  some  mention  at  least 
should  be  made  of  their  noble  achievements  in  this 
field  of  science — especially  their  long  and  weari- 
some researches  and  labors  in  perfecting  this  ^won- 
derful work. 

To  M.  Daguerre,  of  France,  whose  name  is  so 


20  PROGRESS    OF    PHOTOGRAPHY. 

identified  with  the  Photographic  Art,  from  the  fact 
of  its  being  associated  with  all  those  impressions  on 
the  metallic  plate,  is  the  world  not  only  indebted 
for  the  first  sublime  idea,  but  also  the  first  success- 
ful result.  Although  Mr.  Fox  Talbot,  of  England, 
who  was  prosecuting  experiments  at  the  same  time 
with  Daguerre,  claims  priority  of  discovery,  yet 
the  world  would  have  slumbered  in  ignorance  had 
not  M.  Daguerre  so  clearly  demonstrated  that 
light  falling  upon  a  certain  substance  known  by 
chemists  as  iodide  of  silver,  would  impress  thereon 
whatever  image  was  presented  for  its  magic  work, 
and  reproduce  its  own  image  with  all  the  fidelity 
of  an  artist's  skill. 

The  details  of  M.  Daguerre's  process,  as  given 
to  tlie  world  in  June,  1839,  were,  of  com'se,  very 
imperfect;  yet  the  j)rinciple  was  thereby  estab- 
lished, and  has  been  so  successfully  carried  out 
by  his  successors,  that  he  is  fully  entitled  to  the 
credit,  and  deservedly  stands  pre-eminent  in  the 
ranks  as  the  original  discoverer  or  inventor  of  this 
beautiful  art. 

All  the  photographic  processes  since  made 
known  and  practised,  owe  their  origin,  if  not  di- 
rectly, at  least  indirectly,  to  the  fact  of  his  original 
discovery. 


PROGRESS    OF   PHOTOGRAPHY.  21 

Pictures  on  paper,  glass,  &c.,  are  in  fact  only 
modifications  of  his  great  achievement.  They  in- 
volve a  change  in  the  uatnre  of  the  mere  materials 
used,  and  do  not  in  any  degree  affect  the  original 
^  fact  that  light  mnst  be  brought  to  act  upon  the 
substance  known  as  iodide  of  silver  to  produce  the 
required  result. 

The  researches  of  Wedgewood'and  Sir  Hum- 
phrey Davy,  in  1802,  are  familiar  to  most  scien- 
tific readers.  These  individuals  were  cognizant  of 
the  fact  that  lio-ht  actins;   upon   certain  salts  of 

O  CD  J. 

silver  aftected  its  color.  They  engaged  in  these 
experiments  in  order  to  fix  the  image  in  the  camera 
obscura  at  that  early  day ;  yet  owing  to  the  imper- 
fect state  of  chemical  science,  and  the  fact  that 
iodine  itself  was  not  discovered  at  that  time,  they 
finalh'  abandoned  it,  and  left  the  field  for  such  in- 
dustrious and  worthy  investigators  as  Daguerre 
and  ]S"iepce,  who  successfully  prosecuted  their  re- 
searches, beginning  in  1814,  and  finally  announ- 
cing their  successful  result  in  June,  1839. 

Tlie  world  was  astounded  to  be  told  that  the 
seeming  evanescent  image  that  had  flitted  so  beau- 
tifully before  the  vision  of  a  dreamer's  mind  in  the 
camera  obscura  for  so  many  long  years,  had  been 
caught  and  impressed  indelibly  upon  a  tangible 


22  PROGRESS    OF    PHOTOGRAPHY. 

substance ;  that  the  long  wished-for  as]3irations  of 
an  artist's  soul  had  been  realized  ;  that  now  it  was 
possible  to  transform  the  living  pictures  which 
Portia,  two  hundred  years  before,  had  exhibited 
to  the  gazing  world  as  wonders  of  his  genius;  that 
they  could  all  be  imperishably  iiiipressed,  and  be 
made  to  retain  their  beauty  for  ages. 

Philosophers'  in  science  prosecuted  their  re- 
searches, and  finally  made  additional  discoveries. 
We  find  Sir  John  Herschel  as  among  the  foremost 
in  the  ranks.  Hunt,  Archer,  and  Mr.  Fox  Talbot 
himself,  made  great  progress  soon  after  it  was  an^ 
nounced  that  Daguerre  had  finally  perfected  his 
discovery. 

Mr.  Talbot,  however,  was  unwilling  the  world 
itself  should  profit  by  his  discovery,  and  he  forth- 
with commissioned  agents  to  all  parts  of  the  world 
to  secure  patents  wherever  they  could  be  obtained. 
With  what  success  he  met  in  their  sale  may  be 
known  from  the  fact  that  no  one  now  claims  any 
interest  whatever  in  them. 

Mr.  Talbot  has  seen  proper  of  late  to  withdraw 
all  claims  to  a  patent  by  his  process,  and  for  the 
reason,  no  doubt,  that  it  has  been  so  urT'^as'n-aldv 
superseded  by  new  and  more  useful  improvements. 

A  patent  for  any  portion  of  this  pz'ocess  is  almost 


FOX  talbot's  patent.  23 

conceded  to  be  a  misnomer.  Certain  it  is  that  one 
always  militates  against  the  successful  practice  of 
it;  and  had  M.  Daguerre  claimed  one  all  over  the 
■world,  his  name  would  not  have  attained  its  present 
fame. 

Mr.  Talbot  has  been  very  justly  censured  in 
England  for  his  long  persistency  in  the  claims  to 
his  patent.  Many  litigations  were  the  conse- 
quences of  it,  in  all  of  w^hich  Mr.  Talbot  was  not 
declared  the  victor,  but  he  always  brought  upon 
himself  the  deserved  censm*e  of  the  photographers 
in  Europe. 

M.  Daguerre  himself,  very  reluctantly,  however, 
yielded  to  the  wishes  of  some  of  his  friends,  and 
secured  a  patent  in  England,  by  taking  advantage 
of  a  peculiarity  in  the  patent  laws  of  that  country, 
yet  it  has  been  said  he  often  regretted  it. 

Wherever  any  patent  has  been  secured  for  any 
peculiar  detail  of  the  Photographic  Art,  it  has 
always  tended  to  bring  discredit  on  its  projectoi-s, 
and  render  them  odious  in  the  eyes  of  the  frater- 
nity, as  grasping  and  over-reaching  in  their  endea- 
vors to  gain  a  few  dollars  and  cents  out  of  this 
beautiful  process,  which  seems  to  belong  to  a  higher 
race  of  discoveries  than  most  others,  partaking 
almost  of  the  things  spiritual. 


34  daguerre's  pension. 

France  awarded  M.  Dagnerre  a  pension  for  life, 
as  well  as  one  to  M.  Niepce,  junior^  the  father, 
who  was  the  original  co-laborer  with  Daguerre, 
having  died  in  1833.  This  pension  was  small,  jQt 
it  evinced  a  noble  and  generous  spirit  in  the 
French  government,  and  an  example  that  is  wor- 
thy of  emulation  in  other  countries. 

The  process  on  silver  plates  soon  made  rapid 
strides  towards  perfection,  and  in  a  few  years  we 
find  the  art  capable  of  producing  specimens  of 
great  beauty.  The  discovery  of  the  use  of  chloride 
of  iodine,  and  bromine,  and  finally  the  gilding  pro- 
cess of  Mr.  Fizeau,  resulted  successfully  in  com- 
pleting the  whole  j^rocess  so  perfectly,  that  few,  if 
any,  material  improvements  have  been  made  since. 

This  led  others  to  investigate  and  essay  experi- 
ments on  various  substances  instead  of  the  silver 
plate,  that  being  an  expensive  article ;  and,  more- 
over, as  the  daguerreotype  could  only  be  seen  with 
distinctness  in  a  certain  position,  or  angle  of  light, 
while  paper  oflered  such  unequal  surfaces,  a  natu- 
ral desire  was  expressed  to  find  some  other  sub- 
stance to  remedy  these  defects.  This  first  led  Sir 
John  Herschel  to  adopt  glass  as  the  readiest  means 
of  obviating  the  difficulties.  This  was  in  the  year 
1844,  and  he  obtained  his  results  by  precipitating 


herschel's  pkocess.  25 


iodine  and  bromine,  and  chloride  of  silver  upon 
glass.  With  this  he  produced  some  good  nega- 
tives, which  could  be  converted  into  excellent 
positives, 

Herschel  describes  his  process  as  follows  :  "The 
glass  plate  so  prepared  receives  in  the  camera  a 
distinct  negativ^e  image,  which  appears  either  in  a 
natural  position,  or  reversed,  as  you  look  at  it  in 
front  or  behind.  If  a  solution  of  hyposulphite  of 
soda  is  spread  cautiously  over  the  surface,  and  the 
latter  is  afterwards  rinsed  with  water,  the  picture 
vanishes,  but  as  soon  as  the  plate  is  dry,  it  comes 
again  to  light,  when  it  looks  similar  in  appearance 
to  a  daguerreotyi^e,  more  especially  if  it  is  placed 
on  a  dark  ground,  or  blackened  over  the  lamp, 
whereby,  indeed,  the  negative  is  made  positive." 

Here,  then,  we  have  the  first  germ  of  a  positive 
picture  on  glass.  Ileischel  himself  was  searching 
after  a  negative  picture  whereby  to  produce  a 
positive  on  paper,  nor  did  it  occur  to  him  to  pro 
duce  a  positive  on  glass.  Had  he  done  so,  then 
the  far-famed  Ambro types,  or  j)ositive  photographs 
on  glass,  w'ould  have  been  of  an  earlier  creation 
than  those  of  1850  in  England. 

We  see  here  the  actual  beginning  of  this  art  as 
far  back  as  1844. 

3 


26  DISCOVEKY   OF    JUN-OOTTON. 

The  next  improvement  was  made  by  ^iepce  de 
St.  Victor,  of  France,  in  1848,  which  consisted  in 
the  use  of  albumen  (the  white  of  an  egg),  contain- 
ing iodine  and  a  small  portion  of  water.  This  was 
used  for  coating  glass  plates,  and  was  practised 
with  good  success.  It  was  found  to  possess  only  a 
small  degree  of  sensitiveness.  Yet  it  has  been 
since  used  for  taking  views,  having  a  further  com- 
bination of  bromine,  with  excellent  results.  M.  Le 
Grey,  of  Paris,  was  the  first  to  suggest  the  use  o^ 
waxed  paper.  This  process,  with  albumen,  gives 
highly  satisfactory  pictures,  and  is  only  excelled 
by  the  use  of  collodion.  It  was  in  1850  that  tha' 
substance  fii'st  was  known  as  the  great  desideratum 
of  the  Photographic  Art,  and  from  its  discovery 
and  foundation  has  been  laid  a  superstructure 
which  commands  so  much  admiration  in  the  scien- 
tific world. 

Had  not  Professor  Schonbein,  of  Basle,  Switzer- 
land, in  1846,  made  that  curious,  and  at  that  time 
almost  useless,  discovery  of  gun-cotton,  we  should 
have  groped  our  way  in  darkness  in  search  of  a 
Gubstance  that  would  render  all  our  labors  so  sure 
of  success. 

The  use  of  gun-cotton  as  an  explosive  material 
instead   of  gunpowder,  was  by   some  predicted 


FIKST   USE   OF   COLLODION.  27 

when  its  discovery  was  first  made  known  ;  bnt  it 
was  soon  found  to  be  useless  as  an  explosive  agent, 
when  happily  a  new  element  of  its  nature  was  de- 
veloped in  the  fact  of  its  solubility  in  ether  or 
alcohol.  This  produced  the  substance  known  as 
collodion,  from  a  Greek  word  signifying  "  to  stick." 
Its  similarity  to  albumen  soon  caused  it  to  be  used 
instead  of  that  substance,  when  lo !  a  servant  was 
obtained  for  the  photographic  artist  at  once  so  use- 
ful and  willing  that  he  has  ever  since,  and  prob- 
ably ever  will,  be  subject  to  his  rule. 

Collodion  was  first  used  in  1850,  several  claim- 
ing the  origin  of  the  discovery.  Amongst  the 
number  may  be  mentioned  Messrs.  Archer,  Fry, 
and  Diamond,  of  London,  together  with  Le  Grey, 
of  Paris,  and  De  La  Motte.  *  The  latter  asserts 
that  M.  Simon,  an  apothecary  of  Berlin,  suggested 
its  properties  to  him  in  the  spring  of  1850. 

After  collodion  had  been  established  as  a  photo- 
graphic agent  of  such  vast  utility,  it  was  soon 
found  that  positive  pictures  could  be  taken  on 
glass  with  greater  facility  than  those  on  the  silver 
plate,  and  we  find  that  many  were  sold  in  1851  in 
that  manner  in  England;  yet  they  did  not  com- 
mand much  attention,  owing  to  their  ^Jeculiar  na- 
ture— being  taken  with  a  thin  film,  and  a  weak 


28  MR.  cdtting's  patent. 

niti-ate  bath,  tliey  did  not  possess  that  strength 
which  those  of  the  present  day  exhibit. 

The  use  of  collodion  was  employed  mainly  with 
a  view  to  produce  good  negatives  on  glass,  in 
order  to  obtain  from  them  satisfactory  positives  on 
paper.  It  was  not  until  positive  pictures  on  glass 
were  taken  in  this  country,  that  they  elicited  any 
praise  from  the  artist ;  and  we  find  Mr.  Cutting,  of 
Boston,  running  with  railroad  speed  towards  the 
Patent  Ofiice  in  Washington,  and  securing  the  ex- 
clusive privilege  of  sealing  two  glasses,  with  one 
of  them  blackened,  in  order  to  render  the  pic- 
ture apparent — the  examiners  at  "Washington  not 
dreaming  of  the  capital  joke  which  was  being 
i:)layed  on  them,  for  it  is  well  known  that  these 
positives  cannot  bcseen  without  the  black  varnish. 

The  necessity  of  the  second  glass  blackened  has 
since  been  entirely  obviated  by  applying  the  var- 
nish directly  to  the  picture,  and  at  the  same  time 
rendering  the  picture  more  durable,  by  entirely 
excluding  from  it  the  air  or  dust. 

Since  that  patent  was  obtained,  there  Jiave  been 
many  improvements  made  in  the  preparation  of 
the  chemicals,  and  their  use,  all  of  wdiich  have  en- 
tirely superseded  those  of  Mr.  Cutting's,  whose 
chemicals,  strange  to  say,  were  also  patented. 


DAGUEiiRE    AND    HIS    FOLLOWERS.  29 

The  name  of  Ambrotjpe  was  also  given  them, 
and  they  are  now  so  well  known  bv  it,  that  it  is 
presumed  they  will  be  ever  after  called  by  that 
newly-coined  word,  which  of  itself  is  perhaps  as 
suggestive  and  appropriate  as  any. 

Thus  we  see  the  progress  of  photograjDhs  on 
glass  has  resulted  in  establishing  an  entirely  new 
name  for  pictures  which  owe  their  origin  to  the 
immortal  Daguerre.  And  although  many  of  the 
followers  of  the  great  master  in  the  art  claim 
originality  in  many  of  the  details  of  this  art,  and 
they  are  indeed  entitled  to  much  praise,  yet  had 
Daguerre  and  ISTiepce  never  lived,  this  art  might 
not  yet  have  had  an  existence.  But  Daguerre  de- 
veloped and  perfected  an  art  which  will  be  prac 
tised  as  long  as  the  sun  shall  shine. 

3* 


CHAPTER    IT. 

THEORY    OF   THE    PHOTOGRAPHIC    PROCESS NEGATIVE 

AND     POSITIVE     PICTURES NEGATIVES     ON     PAPER 

AND    ON    GLASS POSITIVES    ON   GLASS THEORY   OF 

THE   POSITIVE    AND    THE   NEGATIVE   PROCESS. 

The  photographic  process  is  one  of  the  latest 
arts  inti-oduced  to  the  world  which  partakes,  in 
some  degree,  of  the  arts  of  design,  and  from  its 
nature  is  really  superior,  in  point  of  attractive  fea- 
tures, to  many  of  the  lesser  arts.  It  seems  to  de- 
mand a  more  elevated  range  of  thought  and  taste 
than  others,  being  to  a  great  degree  allied  to  the 
arts  of  painting  and  sculpture.  Though  in  a  meas- 
ure mechanical,  yet  it  possesses  many  peculiarities 
which  demand  from  its  votaries  more  than  the 
limited  judgment  and  skill  necessary  to  the  per- 
fection of  ordinary  arts. 

The  theory  of  the  process  is  said  mainly  to  con- 
sist in  that  certain  action  to  which  light  is  subject 
of  causing  its  own  image  or  reflection  to  be  ren- 


NEGATIYKS    ANO    POSITIV!  S.  P>i 

dei'ed  apparent  by  that  self-same  reflection  on  sub 
stances  capable  of  receiving  the  impression. 

The  term  Photography,  ov  painting  hy  lights  is 
snfHciently  definite  for  our  purpose,  and  all  we 
know  about  the  actual  theory  is,  that  when  certain 
conditions  are  observed  with  regard  to  light,  an 
ini2:»ression  may  be  obtained.  But  what  is  the 
real  or  definite  action  which  takes  place  upon  the 
surfece  of  the  iodized  plate,  no  man  has  been  per- 
mitted to  know. 

Photographs  are  known  either  as  J^egatives  or 
Positives.  They  are  positive  in  the  Daguerreotype 
and  Ambrotyjje,  and  negative  only  in  the  glass 
pictures  or  paper  pictures,  from  which  positives 
are  to  be  taken  on  paper,  and  on  other  similar 
substances.  Tliese  terms  should  be  well  understood 
by  the  operator  who  seeks  success,  as  they  form 
the  basis  of  all  photograj^hy. 

All  pictures  taken  by  the  collodion  process  pos- 
sess either  of  the  foregoing  conditions. 

IS^egatives  were  first  taken  on  paper,  from  which 
posiiives  were  produced  by  the  process  known  as 
the  Calotype,  discovered  and  patented  by  Mr.  Fox 
Talbot,  of  England.  From  the  multiplicity  of  its 
in) perfections,  it  did  not  succeed,  and  no  ])hoto- 
graplis  were  api)7*eciated  by   a  dl-eeriiinir  ]iublic 


32  THEORY   OF    NEGATIVES    AND    POSITIVES. 

until  those  negatives  taken  on  glass  were  produced 
and  positives   exhibited  from  them  which  were 
creditable  as  works  of  art. 

Negatives  possess  all  the  various  phenomena  in 
their  production  that  are  possessed  by  positives. 
They  are  in  some  respects  more  difficult  to  be  ob- 
tained in  great  perfection,  and  in  others  are  less  so 
from  their  peculiar  properties.  They  ai'e,  in  fact, 
only  matrixes  from  which  other  pictures  can  be 
obtained.  Therefore  they  are  not  perfect  pictures 
of  themselves,  but  only  parts  of  a  whole. 

The  manipulation  connected  with  the  negative 
process  is  given  briefly  in  this  work,  mainly  with 
a  view  to  impart  certain  information  with  regard 
to  the  positive  process. 

The  theory  of  the  positive  and  negative  processes 
IS  the  same,  which  consists  in  the  reduction  of  the 
silver  to  an  oxide  on  the  surface  of  the  glass  by 
the  action  of  light,  and  the  subsequent  application 
of  well-known  chemical  substances.  Tliese  several 
conditions  must  be  well  observed  in  order  to  secure 
good  resnlts.  The  iodide  of  silver  must  be  well 
formed  on  the  surface  of  the  glass.  The  light 
given  must  be  only  so  much  as  will  produce  the 
image,  and  reveal  it  after  the  application  of  the 
developing  solution,  and  this  must  be  of  just  the 


POSITIVES   ON   GLASS.  33 

requisite  strength  to  produce  the  reduction  from 
the  iodide  to  tlie  oxide  of  silver. 

•The  impression  is  therefore  given  solely  by  the 
action  of  light,  or  by  certain  properties  of  that 
mysterious  body.  Yet  when  the  plate  is  removed 
from  the  camera,  there  is  no  apparent  change  pro- 
duced, but  on  applying  the  develoi5ing  solution, 
the  sleeping  and  invisible  image  awakes  and  starts 
into  life,  and  commands  from  every  beholder  an 
expression  of  wonder  and  admiration. 

Fixing  the  picture  is  a  subsequent  operation, 
and  is  no  part  of  the  process  of  production,  only 
so  far  as  it  may  be  necessary  to  render  it  perma- 
nent, and  also  to  remove  the  unaffected  iodide  of 
silver,  a  portion  of  which  is  not  at  all  changed  by 
the  light.  Only  those  parts  are  affected  which  are 
necessary  to  produce  the  light  and  shade. 

Positives  on  glass  are  taken  with  chemicals 
varying  slightly  from  those  used  in  producing 
negatives,  and  also  by  a  much  shorter  exposure  in 
the  camera.  In  fact,  a  positive  is  only  a  negative 
with  a  less  degree  of  exposure  to  the  action  of 
light.  All  positives  could  of  themselves  become 
negatives  were  the  time  of  exposure  prolonged 
sufficiently  to  effect  that  result,  though  their  uses  as 
a  means   of  producing   subsequent  positives   on 


34  AMBROTYPES    IN    THE    UNITED   STATES. 

paper  is  a  matter  of  doubt,  for  there  are  certain 
other  conditions  necessary  for  success  in  the  pro- 
duction of  good  negatives  not  known  in  the  posi- 
tive process. 

These  positives  on  glass  are  now  so  widely  rec- 
ognized as  ATnbrotypes^  that  we  shall  venture  to 
assume  that  name  as  one  sufficiently  significant 
and  appropriate  for  our  purpose. 

Ambrotypes  are  now  so  well  known,  that  they 
may  almost  be  said  to  be  identified  with  the  prog- 
ress of  the  art  in  the  United  States,  and  belong 
exclusively  to  this  country.  Tliey  are  not  known 
as  such  in  Europe.  They  are  there  classed  under 
the  head  of  Photographs,  and  the  public  here  are 
frequently  led  into  eiTor  on  this  point,  and  suj)- 
pose,  in  fact,  that  Ambrotypes  are  a  new  creation 
— a  new  kind  of  picture  only  known  here,  while 
in  truth  they  were  first  taken  in  Europe,  and  are 
merely  photographs  on  glass,  taken  positively  in- 
stead of  negatively. 

Tiie  details  of  the  process,  and  the  necessary 
manipulations,  are  of  course  to  be  found  only  in 
the  practical  portion  of  this  work. 

The  whole  art  consists,  therefore,  in  the  careful 
preparation  of  the  glass  plate,  in  the  most  scrupu- 
lous cleanliness  and  accuracy  of  the  employment 


PHOTOGRAPHIC    DIFFICULTIES.  35 

of  every  material  requisite  to  the  process,  and  in  a 
most  implicit  obedience  to  such  rules  as  are  laid 
down  in  tliis  work  for  the  guidance  of  those  who 
would  insure  success. 

The  results  set  forth  in  these  pages  were  ob- 
tained after  nnich  patient  labor  and  investigation 
on  the  part  of  a  host  of  intelligent  inquirers,  who 
have  successfully  overcome  difHculties  which,  could 
they  have  foreseen,  would  have  appalled  the  most 
patient  and  determined  mind.  Happily  for  the 
photographer  who  now  commences  his  operations, 
he  may  profit  by  the  experience  of  others,  and  be 
spared  the  labor  and  investigation  of  earlier  op- 
erators. 

The  path  for  him  is  now  rid  of  its  most  formi- 
dable difficulties,'  and  should  he  be  induced  to  ex- 
amine carefully  the  abstruse  philosophical  princi- 
ples upon  which  this  fascinating  art  depends,  he 
mav,  in  his  turn,  become  a  contributor  to  its  im- 
provement  and  advancement. 

The  experience  of  the  humblest  may  sometimes 
furnish  a  suggestion,  which  investigations  of  the 
most  refined  and  cultivated  may  have  long  failed 
to  accomplish. 

The  art  is  greatly  suggestive.  It  offers  many 
fields  of  speculation,  and  the  great  aim  of  all  who 


36  TRIUMPH    OF   AKT   OVER   NATURE. 

practise  it  sliould  be  to  perfect  it  as  soon  as  possi- 
ble, for,  like  all  the  creations  of  man's  genius,  it  is 
not  yet  complete.  But  the  rapid  strides  it  is  now 
making  towards  long  wislied-for  perfection  are  so 
apparent,  that  we  confidently  look  to  the  accom- 
plishment of  the  greatest  end  sought — namely,  the 
reproduction  of  the  colors  of  nature.  This  result 
once  obtained,  the  artist  could  lay  aside  his  easel 
and  pallet.  He  could  then  retire  from  the  arena 
where  he  now  stands  contending  so  unprofitably, 
in  a  pecuniary  point  of  view,  with  the  photogra- 
pher. 

But  this  seeming  triumph  of  nature  over  art  by 
the  pencillings  of  the  sunlight — the  sun  himself 
becomin«:  the  universal  and  sublime  artist ! — is 
really  the  triumph  of  art  over  nature ;  for  since 
art,  conscious  of  the  weakness  and  imperfections 
of  her  best  eiforts,  has  had  the  tact  and  skill  to 
wheel  the  forces  of  nature  into  her  own  ranks,  the 
result  should  be  set  down  to  her  own  credit,  as  her 
own  victory. 


PART   I. 


PRACTICAL  DETAILS 


OF   THE 


NEGATIVE    PROCESS. 


POSITIVE  PHOTOGRAPHS  ON  PAPER. 


CHAPTER  I. 

ON  THE  PRACTICE  OF  THE  NEGATIVE  PROCESS  THROUGH 

ALL  ITS  DETAILS THE   MANIPULATIONS CLEANING 

THE    PLATE — COATING    WITH     COLLODION DRYING 

THE   SAME TIME   IN    THE  CAMERA DEVELOPING 

KE-DEVELOPING    FOR    INTENSITY VARNISHING    THE 

NEGATIVE FRAMES     OR    SHELVES     FOR    NEGATIVES 

GENERAL    REMARKS     ON    THE   MANIPULATION    Of 

THE     NEGATIVE    PROCESS ARRANGEMENT     OF    THE 

LIGHT USE   OF   THE   CAMERA,    ETC.,    ETC. 

There  are  so  many  various  plans  suggested  by 
practical  operators  in  the  Photographic  Art,  all 
varying  so  much  in  detail,  that  the  author  has 
thouglit  proper  to  simply  confine  himself  to  one 
line  of  practice,  which  has  been  found  to  produce 
the  best  results. 

All  negative  Photographs  at  the  present  stage 


40  NEGATIVE   PHOTOGRAPHS. 

of  the  art  are  taken  on  glass,  and  they  are  called 
negatives  from  the  fact  that  all  the  lio;hts  and 
shades  are  reversed — i.  e.  where  the  portrait  in 
life  presents  the  high  lights  (or  where  the  light  foils 
the  strongest,  and  it  should  appear  the  lightest),  in 
the  negative  it  appears  the  darkest.  In  like  man- 
ner, where  the  dark  shades  are  seen  in  a  positive 
to  be  dark  as  in  life,  in  the  negative  they  are  seen 
light,  or  to  present  the  high  lights.  They  present 
these  peculiar  phenomena  only  when  viewed  by 
transmitted  light,  or  light  passing  through  them,  in 
which  position  they  can  only  be  seen  with  proper 
effect.  When  viewed  as  a  positive,  laid  on  a 
blackened  substance,  they  resemble  in  some  de- 
gree a  positive  that  has  been  too  long  exposed  in 
the  camera.  They  cannot  be  viewed  properly  in 
any  other  manner  than  by  transmitted  light. 

However,  they  are  never  to  be  sealed  up  for 
sale  in  any  form,  but  are  always  reserved  by  the 
artist  to  print  from,  any  number  of  copies  that  may 
be  desired.  And  herein  consists  the  great  beauty 
and  perfection  of  this  branch  of  photography. 
We  have  the  power  of  multiplying  ad  infinitum^ 
even  far  greater  than  if  it  were  printed  from  an 
engraving.  The  negative  itself  can  be  reproduced 
and  multiplied  so  that  exact  fac-sitniles  could  be 


CLEANING    THE    PLATI-;.  4rl 

obtained,  and  even  thousands  printed  by  every 
negative,  so  nearly  resembling  each  other,  that 
none  could  distinguish  the  first  original  positive 
impression. 

Regarding  the  manipulation  of  negative  process 
as  a  simple  chemical  operation,  with  certain  chem- 
ical auxiliaries,  it  is  very  easy  of  accomplishment. 
When  once  properly  understood,  if  certain  rules 
are  observed,  it  is  more  sure  of  success  than  most 
others  in  the  art. 

The  first  requisite  to  success  is  the  cleaning  of 
the  glass  plate,  which  is  easily  done  by  I'ubbing  it 
with  a  piece  of  cotton-flannel  dipped  in  alcohol, 
slightly  diluted  with  water ;  and  in  case  of  using 
the  glass  the  second  time,  a  small  quantity  of  rot- 
ten-stone, whiting,  or  tripoli  poM'der,  inay  be 
added. 

Be  careful  to  dust  the  glass  with  a  flat  camel's- 
hair  brush  just  before  pouring  on  the  collodion. 
Holding  the  glass  in  the  left  hand,  standing  near 
the  bath,  pour  the  collodion  on  with  a  continuous 
stream  from  the  bottle  until  there  is  enough, 
which  when  flowed  over  the  whole  surface  of  the 
glass  will  just  cover  it.  Then  let  the  superfluous 
quantity  run  off  at  the  right-hand  corner  into  the 
bottle,  slightly  moving  the  glass  plate  so  that  the 

4* 


42  TIMK    IN    THE   CAMKRA. 

cullodiou  M^ill  not  .dry  in  lines  or  ridges ;  a  qnick 
motion  may  be  necessary  to  insure  a  perfect  fiow 
of  it  over  tiie  surface.  On  holding  the. glass  up  to 
transmitted  light,  it  should  appear  perfectly  clear 
and  transparent,  as  though  no  collodion  was  upon 
its  surface — at  least,  no  lines,  streaks,  or  spots.  If 
any  are  visible,  the  negative  will  be  faulty. 

Let  it  dry  until  it  appears  almost  free  from 
moisture ;  now  darken  the  room  ;  then  place  it  in 
the  bath  for  one  or  two  minutes,  or  until  the  iodide 
of  silver  is  perfectly  formed  on  its  surface,  which 
can  easily  be  ascertained  by  raising  the  plate  from 
the  bath.  If  the  surface  presents  a  uniform  ap- 
pearance, clear  and  witliout  any  lines  or  streaks 
like  grease  or  oil,  then  it  is  ready  for  the  camera: 
a  slight  motion  of  the  plate  will  produce  this  re- 
sult. 

The  time  of  exposure  in  the  camera  is  entirely  a 
matter  of  judgment  and  expeiience.  No  definite 
rules  can  be  laid  down;  but  usually,  in  a  strong 
light,  with  the  ammonia  collodion  and  the  neutral 
bath,  from  fifteen  seconds  to  one  minute  will  an- 
swer. 

The  time  of  exposure  can  easily  be  ascertained 
by  a  trial  plate. 


DE\rRLOPING    OF    THE    NEGATIVE.  43 

THE  DEVELOPING  OF  THE  NEGATIVE. 

This  requires  great  care  and  mnch  practice,  for 
if  the  process  in  all  its  details  is  correctly  followed, 
and  only  a  slight  variation  in  the  developing  of 
the  image,  the  resulting  negative  will  be  of  no 
avail. 

As  soon  as  possible  after  the  light  has  acted 
upon  the  plate  in  the  camera,  remove  it  to  the  de- 
veloping-stand,or  it  may  be  held  in  the  hand,  and 
pour  the  solution  well  filtered  upon  the  surface,  but 
only  just  enough  to  cover  it,  retaining  all  the  fi-ee 
r.itrate  of  silver  which  had  adhered  to  the  plate  on 
its  removal  from  the  bath.  The  silver  itself  acts 
as  a  means  of  darkening  the  negative. 

The  developing  solution  of  protosulphite  of  iron, 
on  page  89,  will  be  found  the  most  useful,  and  in- 
deed the  only  one  recommended  for  good  nega- 
tives. After  allowing  this  solution  to  remain  on 
the  surface  for  a  few  seconds,  the  outlines  of  the 
negative  will  appear.  Then,  if  not  sufficiently  in- 
tense, pour  off  the  develo|)er,  and  cover  it  again 
two  or  three  times,  until  sufficient  intensity  is  ob- 
tained. The  negative  should  gradually  appear 
first  in  the  high  light,  then  the  drapery ;  and, 
lastly,  it  should  seem  to  fade  partially  away. 


44  VARNISHING    NEGATIVES. 

FIXING  THE   NEGATIVE. 

Always  fix  the  negative  in  a  strong  solution  of 
hyposulphite  of  soda.  This  will  of  course  remove 
the  iodide  of  silver  slowly,  but  tlie  collodion  is  less 
liable  to  be  attacked  by  the  use  of  soda  than  by 
cyanide  of  potassium.  A  saturated  solution  will 
remove  the  iodide  of  silver  more  readily,  although 
a  less  quantity  of  soda  will  answer.  It  is  found 
that  whatever  quantity  is  employed,  it  loses  its 
strength  on  the  immersion  of  every  plate,  and 
must  be  frequently  renewed. 

VAKNISIIING  NEGATIVES. 

In  order  to  preserve  negatives  in  a  proper  state 
for  future  use,  it  is  ^vel]  to  varnish  them.  If  they 
are  intended  only  to,  print  a  few  copies,  a  varnisli 
of  gum-arabic  is  preferable,  not  very  thick,  about 
the  consistency  of  collodion. 

If  the  negative  is  required  for  many  ]v/Ints,  the 
better  course  would  be  to  varnish  Avitli  the  wliite 
negative  varnish.  All  vai'nislies  are  poured  over 
the  j)late  in  the  same  manner  as  collodion,  and  al- 
lowed to  dry  by  l)eing  ]^laced  on  its  edge,  secure 
from  dust,  until  it  has  thoroughly  dried. 


AKKANGEMENT    OF    THE    LIGHT.  4:5 

rPvAMES  OR  SIIELA^ES  FOR  IIOLDIKG  NEGATIVES. 

It  is  very  necessarv  that  the  neo:atives  shuuld  bo 
kept  in  some  secure  place ;  and  two  shelves,  hav- 
ing grooves  in  them  above  and  belov»'-,  so  that  the 
glasses  shall  stand  on  the  edges  in  them,  is  the 
best  receptacle  when  not  in  nse.  Shelves  of 
various  widths,  according  to  the  size  of  the  glasses, 
are  required,  and  with  a  door  that  shall  close  in 
front  of  each  to  exclude  the  dust,  &c. 

The  manipulation  of  the  negative  process  is  so 
very  important,  that  certain  hints  are  necessary  to 
insure  absolute  success. 

The  arrangement  of  the  light  upon  the  sitter  is 
of  vast  importance.  It  should  fall  with  a  full  force 
upon  the  drapery,  if  it  is  of  a  dark  color;  and  the 
background,  whicli  is  usually  of  a  somber  hue, 
should  also  be  well  lio-hted  up  from  the  skvliijjht. 
Arrange  the  subject  in  a  favorable  position  to  pro- 
duce the  most  pleasing  effect  of  liglit  and  shade 
upon  the  face — carefully  attending  to  the  pointed 
light  upon  the  eyes.  Avoid  the  long  line  of  light' 
upon  theuL  If  possible,  produce  a  uniform  light 
on  the  drapery,  as  that  portion  is  more  likely  to 
be  clouded  than  any  other. 

The  position  of  the  camera  should  demand  a 


46  EXPOSURE   OF   THE    PLATE. 

careful  stnd\-.  Some  cameras  require  to  be  eleva- 
ted more  than  others,  which  can  be  ascertained  by 
actual  experiment.  Some  will  work  more  uni- 
formly over  the  whole  plate  M'hen  arranged  in  an 
exact  line  with  the  face  of  the  sitter. 

A  skylight  wliich  is  nearly  flat,  or  one  that  is 
slightly  elevated  only  on  one  side,  has  been  found 
to  produce  the  most  pleasing  effects  in  Photog- 
raphy, 

The  length  of  time  of  exposure  of  the  plate  to 
the  action  of  light  is  a  matter  of  vast  importance, 
because  the  intensity  of  the  negative  is  affected 
thereby — which  will  be  seen  on  application  of  the 
developing  agent.  If  too  long  time  has  been  em- 
ployed, the  print  will  appear  flat  in  details ;  al- 
though the  drapery  may  appear  distinct,  the  round- 
ness will  be  lost.  The  middle  tints  of  the  fece 
which  are  so  desirable,  M'ill  not  appear.  It  is 
better  to  give  a  short  time  first,  and  bring  up  the 
intensity  by  developing.  A  short  exposure  in  the 
camera,  if  the  developing  solutions  are  capable  of 
producing  a  powerful  negative,  is  found  to  be  the 
best  for  strong  and  vigorous  eflects.  The  point  to 
arrive  at  is  to  allow  just  long  enough  exposure 
that  the  developing  agent  shall  just  bring  out  the 
negative  of  the  required  intensity,  and  no  more. 


GLASS    FOR    NKGATIVES.  47 

By  a  trial  picture  giving  what  may  be  supposed 
nearly  the  exact  time,  if  too  short  the  augmenta- 
tion of  the  next  succeeding  trials  will  eventuall}' 
arrive  at  the  correct  result. 

It  may  be  proper  to  mention,  that  glasses  used 
for  negatives  do  not  require  to  be  of  such  purity  as 
those  designed  for  positives ;  even  good  window- 
glass,  which  is  selected  as  free  from  bubbles  as 
possible,  will  answer  a  very  good  purpose.  The 
expense,  therefore,  for  material  for  Photographic 
negatives  will  not  be  very  great,  and  the  artist  can 
retain  them  for  future  use  after  one  or  two  im- 
pressions have  been  taken,  so  that  any  future  day 
he  may  produce  more  pictures  for  his  patron  with- 
out any  additional  sitting. 


CHAPTER   II. 

THE    NITRATE     OF    SILVER     BATH     FOR     NEGATIVES 

PREPARATION    OF    THE   SAME FORMATION    OF   THE 

IODIDE  OF  SILVER  FOR  THE  NITRATE   BATH ON   THE 

PRACTICE   OF   THE   NEGA'^^^S   BATH OBSERVATIONS 

ON  THE  USE  OF  THE  NEGATIVE  BATH ON  THE  IN- 
TENSITY OF  THE  NEGATIVE — -COLOR  OF  THE  NEGA- 
TIVE,   ETC.,    ETC. 

THE  NITRATE  OF  SILVER  BATH  FOR  NEGATIVES. 

The  bath  of  nitrate  of  silver,  which  is  most  com- 
monly in  use  for  negatives,  is  that  known  as  the 
nitrate  bath.  Great  care  is  essential  to  its  proper 
preparation,  and  we  shall  proceed  to  lay  down  the 
precise  form  to  make  a  bath  that  will  produce  the 
most  satisfactory  results.  The  proportion  of  ni- 
trate of  silver  required  to  each  ounce  of  water  is 
usually  about  fifty  grains,  though  this  is  not  abso- 
lutely essential. 

All  negative  baths  require  a  certain  degree  ot 
working  or  use  before  they  will  act  to  the  best  ad- 


THE   NITRATE   OF    SILVER  BATH.  49 

vantage.  They  should  always  be  combined  with 
a  portion  of  iodide  of  silver  ;  and  even  that  should 
be  added  again  after  long  use,  as  many  times  that 
simple  remedy  will  remove  difficulties  which  were 
deemed  insurmountable. 

Having'  ascertained  the  number  of  ounces  the 
bath  contains  (see  page  50),  weigh  out  the  quan- 
tity of  nitrate  of  silver  necessary  to  produce,  when 
dissolved,  about  fifty  grains  to  each  ounce  of  water. 
Dissolve  about  one  ounce  of  the  nitrate  of  silver  in 
four  or  six  ounces  of  water ;  then  dissolve  the  bal- 
ance of  the  nitrate  of  silver  which  will  be  required 
to  fill  the  bath  in  the  remaining  ^Jortion  of  the 
water. 

For  every  ounce  of  nitrate  of  silver  which  is  re- 
quired in  the  bath  to  render  it  fifty  grains  to  each 
ounce  of  w^ater,  there  must  be  measured  out  three 
grains  of  iodide  of  ammonia.  This  is  to  be  formed 
into  iodide  of  silver  b}^  fii'st  dissolving  the  iodide 
of  ammonia  in  about  two  ounces  of  water,  and 
adding  thereto  say  two  fluid  drachms  of  the  solu- 
tion of  nitrate  of  silver,  in  which  one  ounce  of  the 
silver  has  been  dissolved  in  four  ounces  of  water. 
This  will  immediately  throw  down  a  yellow  pre- 
cipitate, which  is  the  iodide  of  silver.  Wash  this 
precipitate  three  times  with  water,  by  filling  the 

5 


50  rilK   NITRATE    OF   SILVER    BATH. 

graduate  dish  or  bottle,  which  should  contain  at 
least  six  ounces  of  water,  and  allow  it  to  settle ; 
then  pour  off  the  watei',  leaving  the  iodide  of  sil- 
ver at  the  bottom.  When  this  is  well  washed, 
add  it  to  the  ounce  of  silver  previously  dissolved 
in  the  four  ounces  of  water.  Shake  it  w^ell,  then 
pour  the  whole  into  the  bottle  containing  the  bath. 
A  niilivy  appearance  will  be  seen  in  the  bath, 
which  is  well  to  remain  in  that  state  for  a  few 
hours  to  dissolve  as  much  of  the  iodide  of  silver  as 
possible.  After  filtering  the  bath  until  it  becomes 
clear,  it  is  ready  for  use. 

A  bath  prepared  according  to  the  foregoing,  if 
requii-ed  to  be  of  sixty-four  ounces  of  water,  would 
contain  the  following  proportions  : 

64  X  50  =  3200  grains,  or  of  nitrate  of  silver    6  J  ounces. 

Iodide  of  ammonia 20  grains. 

Water         .......     2  quarts. 

There  will  be  in  6f  ounces  of  silver,  3240  grains, 
allowing  480  grains  to  each  ounce.  The  above 
quantity  will  be  as  near  50  grains  to  the  ounce  as 
will  be  required  for  all  practical  purposes. 

Distilled  water  is  preferable  in  all  cases.  Though 
perfectly  pure,  soft  water  will  answer,  if  it  has 
not  been  kept  long  in  wooden  vessels.  If  it  has 
been  so  kept,  it  can  be  first  boiled  and  filtered 


PRACTICE    OF   THE   NEGATIVE   BATH.  51 

tlirongli  paper,  to  remove  any  traces  of  vegetable 
mattei"s. 

By  referring  to  pp.  133  and  131,  and  the  sub- 
sequent j^ages  relating  to  tlie  preparation  of  the 
nitrate  of  silver  bath  for  Ambrotypes,  much  valua- 
ble information  M-ill  l>e  found,  which  can  be  adopted 
in  the  negative  bath.  The  bath  will  require  neu- 
tralizing, should  any  excess  of  acid  accrue  in  it. 
The  process  of  neutralizing  will  be  found  on 
page  137. 

The  negative  collodion,  which  is  more  frequently 
used  with  a  perfectly  neutral  bath,  as  above  de- 
scribed, is  that  recipe  found  on  page  82. 

ON  THE  PEACTICE  OF  THE  NEGATIVE  BATH. 

The  use  of  the  negative  bath  requires  much  care 
and  attention,  for  herein  lies  one  of  the  elements 
of  success  in  the  production  of  perfect  negative 
impressions. 

By  using  the  ammonia  collodion  constantly,  the 
bath  is  liable  to  be  changed,  as  it  necessarily  must 
be,  in  its  chemical  character.  Iodide  of  silver  is 
formed  upon  each  plate,  and  consequently  less  sil- 
ver is  contained  in  the  solution,  and  alcohol  is 
added  to  tlie  compound  from  tiie  collodion,  as  well 
as  a  trace  of  ether.     It  will  soon  be  found  to  be 


52  PRACTICE    OF    THE   NEGATIVE   BATH. 

slightly  acid  in  testing  with  litmus-paper.  This 
acid  tendency  sometimes  is  not  objectionable ;  but 
if  there  is  too  much  of  it,  neutralize  the  bath,  and- 
test  with  a  hydrometer  to  ascertain  the  strength  of 
silver.  Always  keep  the  strength  equal  to  fifty 
grains  to  the  ounce.  In  adding  more  silver  to  the 
bath,  it  may  be  effected  more  readily  by  first  dis- 
solving the  quantity  required  in  a  separate  bottle 
from  the  one  used  expressly  for  the  nitrate  bath. 
Filter  always  before  adding  to  the  bath.  Always 
be  provided  with  two  bottles,  having  glass  stop- 
pers sufiiciently  large  to  hold  the  contents  of  the 
nitrate  bath,  into  one  of  which  it  may  be  filtered. 

It  is  recommended  also  to  add  silver  often  to  the 
bath,  if  it  is  in  constant  use,  because  if  the  greater 
portion  of  the  solution  is  removed  (as  some  must 
necessarily  be  every  time  a  plate  is  immersed)  by 
adding  a  large  quantity,  the  whole  nature  of  the 
bath  is  changed. 

Many  operators  provide  themselves  with  sufii- 
cient  solutions  for  two  or  three  baths.  This  is  a 
plan  highly  recommended,  as  a  bath  actually  im- 
proves by  age,  even  if  it  is  not  worked  every  day. 
Old  baths  which  have  been  laid  aside  as  useless 
except  for  restoration,  have,  after  many  days,  on  a 
new  trial  been   found   to  produce  good  results. 


PRACTICE   OF   THE   NEGATIVE   BATH.  53 

There  is  a  constant  change  taking  place  in  the  ni- 
trate baths,  and  there  are  many  phenomena  con- 
nected with  them  wholly  unexplained  as  yet  by 
the  most  successful  operators.  Sometimes  an  acid 
bath  will  work  more  surely  for  negatives  than  a 
neutral,  and  sometimes  a  neutral  bath  is  preferred. 
The  general  rule  to  be  observed  is,  that,  if  a  bath 
is  acid,  the  time  of  exposure  in  the  camera  is 
lengthened,  and  as  we  approach  the  neutral  point 
the  time  is  lessened.  Therefore  to  work  a  bath  as 
nearly  neutral  as  possible,  is  the  most  sure  of 
success. 

In  order  that  the  negatives  should  produce  good 
positive  pictures  on  paper,  they  should  be  very 
ti-ansparent  in  the  dark  portions,  such  as  the  dra- 
pery, &c.,  and  of  such  intensity  in  the  light  parts 
that  a  ray  of  light  can  with  difficulty  be  trans- 
mitted, and  this  must  be  combined  with  a  regular 
gradation  in  the  middle  tints. 

These  desirable  results  can  be  attained  by  using 
the  collodion  somewhat  thicker  for  the  negatives 
than  for  positives  or  Ambrotypes,  as  thereby  a 
thicker  deposit  of  silver  is  obtained  on  the  surface 
of  the  glass. 

Also  a  stronger  nitrate  bath,  and  using  it  as 
nearly  neutral  as  possible,  and  a  longer  exposure 

5* 


54  THE   COLOR   OF   NEGATIVES. 

in  tlie  camera,  together  with  less  acid  in  the  de- 
veloper; all  these  combined  will  produce  the  de- 
sired end,  viz.,  an  intensitji  such  as  will  print  posi- 
tives having  all  the  beauty  ao  much  desired  in 
good  Photographs.  The  absolute  intensity,  how- 
ever, of  a  negative  does  not  always  depend  upon 
the  thickness  of  metallic  silver,  but  to  a  certain  ex- 
tent upon  the  color  it  may  have  when  seen  by 
transmitted  light.  Negatives  also  vary  in  color; 
some  are  translucent  and  of  a  bronze  color,  others 
are  of  a  bluish-black,  whilst  some  are  of  a  gray 
color.  The  color  most  to  be  sought  after  is  the 
bluish-black,  because  these  are  found  to  print 
more  uniformly  clear  in  their  details. 

Sometimes  the  best  negatives  are  those  which 
may  appear  to  be  weak,  because  the  chemical  rays 
are  more  obstructed,  and  the  print  is  consequently 
more  uniform  in  its  gradations  of  light  and  shade. 

Tlie  color  of  the  negatives  depends  on  certain 
conditions  of  the  bath,  the  time  of  exposure  in  the 
camera,  the  nature  and  strength  of  the  developer, 
and  the  quantity  of  acetic  acid  contained  in  it. 
Sometimes  the  presence  of  organic  matter,  which 
wall  collect  in  the  bath,  may  affect  the  color  and 
tone  of  the  negatives.  So  that  no  positive  rules 
can  be  laid  down  for  the  continued  action  of  a 


UNCEKTATNTIES    IN    TIIIC   ART.  55 

bath ;  practice  alone  must  be  the  teacher  in  this 
branch  of  the  art. 

Seeming  uncertainties  may  appear  to  some  who 
have  not  had  much  experience  in  the  art  as  obsta- 
cles of  great  moment.  But  they  will  all  vanish 
after  a  short  time.  These  apparent  contradictions 
and  perplexities  are  only  met  with  for  any  length 
of  time  in  the  experience  of  those  persons  who  do 
not  attend  to  the  minute  details  of  the  art,  such  as 
cleaning  well  the  plate,  decanting  the  collodion, 
the  proper  length  of  time  of  developing  the  pic- 
ture, &c.  The  practice  of  this  beautiful  art  must 
not  be  condemned  because  it  contains  a  few  seem- 
ing contradictions ;  for  if  it  was  easily  acquired, 
and  always  certain  of  success,  there  would  be  no 
incentive  to  excellence,  and  those  persons  who  pos- 
sessed only  a  limited  taste  and  experience,  could 
rival  the  artist  in  the  creations  of  his  genius.  It 
may  therefore  be  deemed  a  fortunate  circumstance 
to  those  who  would  wish  to  excel,  that  the  road  to 
full  success  lays  through  a  few  rugged  passes,  and 
lie  who  would  reach  the  goal  of  perfect  accom 
plishm^ent  must  encounter  some  difficulties. 


CHAPTER   III. 

ON   PHOTOGRAPHIC    PRINTING SALTING    SOLUTIONS 

SALTING    THE    PAPER SILVERING    THE  PAPER  WITH 

AMMONIA    NITRATE   OF    SILVER PLAIN    SILVER    SO- 
LUTION  TO    PREPARE    THE     ALBUMEN     FOR     PAPER 

POSITIVES SILVERING     ALBUMEN    PAPER ON    THE 

PRACTICE  OF  PRINTING  NEGATIVES TONING  OR  FIX- 
ING   THE    PRINT WASHING     THE     POSITIVE     PRINTS 

— DRYING  TIIK  PICTURES VARNISHING  AND  MOUNT- 
ING  THE    PRINTS. 

The  printing  of  the  Photographs  is  that  por- 
tion of  the  art  wherein  o-reat  care  and  attention  is 
demanded,  and  where  much  of  the  beauty  and  fin- 
ish of  the  picture  is  due.  The  success  of  it  de- 
pends upon  a  perfectly  proper  understanding  of 
the  process. 

Having  selected  the  best  quality  of  paper,  it  may 
for  convenience  be  cut  into  sizes  such  as  will  be 
required  for  use  in  the  printing  frames.  Though 
this  is  not  absolutely  necessary,  the  large  sheets,  as 
they  are  manufactured  and  imported  for  use,  can 


THE   SALTING    SOLUTIONS.  57 

firet  be  salted,  dried,  and  laid  aside  in  some  secure 
place,  free  from  dust  or  fumes  of  chemicals. 
When  wanted  for  use,  they  may  be  cut  of  what- 
ever size  may  be  required. 

THE   SALTING   SOLUTIONS. 

One  quart  of  pure  soft  water. 

90  grains  of  liydrochlorate  of  ammonia,  or  common  sal 
n.mmoniac. 

(Sal  ammoniac  is  found  to  be  the  best  preparation  of  salt, 
as  it  contains  less  impurities  than  any  other  known.) 

Dissolve  and  filter. 

Place  this  in  a  large  flat  dish,  which  may  be  of 
gutta-percha,  earthenware,  or  porcelain,  or  even 
wood,  if  it  is  varnished  thoroughly  with  gum-shel- 
lac varnish.  The  dish  must  be  nearly  tilled,  and 
of  sufficient  dimensions  to  admit  the  whole  sheet  of 
paper  if  laid  in  it. 

The  paper  is  to  be  immersed  one  sheet  at  a 
time,  by  laying  hold  of  tlie  sheet  at  two  corners, 
and  it  must  be  drawn  quickly  through  the  solution 
twice,  allowing  the  liquid  to  wet  it  as  it  may  on 
the  surface  of  the  paper  only,  in  effect  to  lay  the 
solution  of  salt  upon  its  surface  without  disturbing 
the  fibres  of  the  paper. 

Hang  each  sheet  up  separately  to  dry  in  a  room 
free  from  dust  or  any  chemical  exiialations.     The 


58  SILVERING    THE   PAPER. 

better  plan  of  suspending  paper,  either  in  the  salt- 
ing or  silvering  process,  is  to  use  the  yjatent 
clothes-pins,  which  can  be  arranged  on  a  cord 
across  the  room.  Great  care  should  be  observed 
in  salting  the  paper  to  avoid  stains,  spots,  or  wrin- 
kles. The  hands  should  never  touch  any  portion 
of  the  paper  except  the  corners.  The  salted  pa- 
pers can  be  laid  aside,  and  will  keep  for  a  great 
length  of  time. 

SILVERING  THE  PAPER. 

The  paper  already  salted  and  dried,  to  be  sil- 
vered, may  be  effected  by  two  or  three  methods. 

The  ammonia  nitrate  solution,  the  preparation 
of  which  is  described  on  page  95,  is  the  one  mostly 
in  use,  and  one  that  will  produce,  with  plain  salted 
paper,  the  most  pleasing  results. 

The  silver  solution  Mhich  may  be  required  for 
use  at  one  time,  is  first  filtered  into  a  clean  bottle, 
and  the  paper  laid  u^^on  a  flat  surface,  covered 
with  paper  or  card-board,  is  to  be  fastened  down 
by  the  corners  with  pins  or  any  other  article  which 
will  cause  it  to  remain  stationary.  The  silver  so- 
lution is  then  poured  on  the  middle  of  the  paper, 
enough  to  cover  it ;  and  with  a  ball  of  cotton  just 
newly  prepared,  carefully  spread  the  silver  over 


PLAIN   SILVER   SOLUTION.  59 

the  whole  surface,  by  means  of  round  lines  or  cir- 
cles, from  the  centre  of  the  paper  to  the  circum- 
ference. Tlio  superfluous  silver  can  be  poured  into 
a  bottle,  but  not  used  again,  as  it  is  changed  into 
a  chloride  of  silver,  owing  to  its  contact  with  the 
salt  of  the  paper.  It  may  be  reserved  in  the  bot- 
tle, to  mix  with  other  silver  solutions,  that  are  use- 
less except  for  the  restoration  of  the  pure  silver,  as 
described  on  page  105.  The  same  ball  of  cotton 
can  be  employed  to  silver  all  the  papers  that  may 
be  wanted  at  one  time,  if  it  is  laid  on  a  clean  piece 
of  paper,  but  a  new  one  will  be  required  for  a  sub- 
sequent preparation. 

Tlie  silvered  papers  should  be  hung  up  to  dry  in 
,a  dark  room,  and  only  enough  prepared  that  may 
be  wanted  for  immediate  use.  In  the  winter  sea- 
son, however,  they  can  be  used  for  two  or  three 
days  after  preparation,  if  kept  carefully  excluded 
from  the  light,  in  a  portfolio  or  drawer. 

PLAIN  SILVER  SOLUTION. 

This  can  be  used  with  the  prejjared  chloride  of 
sodium  paper,  sold  by  dealers  in  Photographic 
materials,  and  consists  of  dissolving  2^  ounces  of 
nitrate  of  silver  in  twelve  ounces  of  water.     This 


60  TO   PREPARR    ALBUMEN   PAPER, 

is  also  used  for  silvering  the  albumen  paper,  whicl 
is  prepared  as  described  on  page  61. 

TKe  chloride  of  sodium  paper  and  tlie  albumen 
paper  is  silvered  by  laying  each  sheet  separately 
on  the  silver  solution,  contained  in  a  flat  dish,  and 
allowing  it  to  float  for  five  minutes,  care  being  ob- 
served that  no  air-bubbles  collect  under  the  paper. 

The  silver  solutions  must  always  be  filtered 
through  cotton  before  applying  them  to  the  paper. 
It  is  only  necessary  to  filter  such  quantity  as  may 
be  wanted  for  immediate  use. 

The  bottles  containino;  the  silver  solutions  should 
be  blackened  over  with  black  asphaltum  varnish, 
to  exclude  the  light,  and  always  kept  as  much  as 
possible  in  a  dark  place.  Papers  maybe  silvered 
in  a  light  room,  though  not  where  the  direct  rays 
of  the  sun  can  Ml  on  them. 

TO  PEEPAEE  THE  ALBUMEN  PAPER. 

Take  the  whites  of  three  or  four  fresh  eggs,  and 
beat  them  with  a  glass  rod  or  flat  piece  of  glass 
until  the  article  l)ecomes  of  a  frothy  consistency. 
Remove  the  froth,  and  j)lace  it  in  a  cool  place,  and 
allow  it  to  return  to  its  liquid  state  again,  in  a 
long  bottle. 

Pour  off  the  clear  portion  of  this,  and  add  to 


SILVERING   ALBUMEN    PAPEE.  61 

every  fluid  ounce  say  from  one  to  four  ounces  of 
water,  according  to  the  strength  of  albumen  that 
is  required.  To  each  ounce  of  this  fluid  of  albu- 
men and  water,  which  will  readily  combine,  add 
fifteen  grains  of  hydrochlorate  of  ammonia  :  filter. 
For  salting  paper  with  albumen,  it  should  be 
floated  three  or  four  minutes.  Thin  paper  is  gen- 
erally preferred  for  the  purpose. 

SILVEEING  ALBUMEX  PAPER. 

Albumen  paper  must  always  be  silvered  with 
plain  silver,  of  the  proportions  given  on  page  59. 
It  must  also  be  floated  on  the  surface  of  the  solu- 
tion for  four  or  five  minutes,  never  brushed  in,  as 
in  the  ammonia  niti-ate  process. 

After  using  this  silver  solution  with  the  albumen 
paper,  there  will  a  milky  appearance  be  observed, 
which  can  readily  be  removed  by  mixing  a  small 
quantity  of  kaolin  or  china-clay  with  the  silver, 
and,  before  using  it,  filter  it  clear. 

If  the  proper  manipulation  is  attended  to  in  the 
use  of  the  albumenized  paper,  the  results  will  be 
far  more  pleasing  than  by  the  ammonia  nitrate 
process.  The  trouble  and  time  required,  how- 
ever, is  much  greater  in  the  former  than  in  the 
latter.     Therefore  the  ammonia  nitrate  is  generally 

6 


62  PRINTING    FROM    NEGATIVES. 

adopted  by  the  profession  as  more  certain  in  its 
results. 

PEINTING  FKOM  NEGATIVES. 

The  usual  time  required  to  print  a  picture  from 
a  good  negative,  under  the  most  favorable  circum- 
stances, is  about  four  minutes.  It  is  proper  to 
state,  however,  what  are  the  most  favorable  cir- 
cumstances. They  are  good  paper,  good  silvering 
solution,  and  a  clear  sun-light,  with  all  the  neces- 
sary details  of  the  practice  carefully  followed,  as 
in  the  foregoing  directions. 

Negatives  may  be  printed  with  a  subdued  light, 
and  printed  well,  as  there  are  many  cloudy  days 
when  the  prints  are  wanted.  Of  course,  the  time 
of  exposure  must  be  prolonged,  and  even  an  hour 
may  sometimes  be  required  to  produce  the  neces- 
sary depth  of  color  on  the  paper. 

The  color  which  is  to  be  obtained  on  the  print 
before  it  is  ready  to  remove  from  the  printing 
frame,  is  of  considerable  importance.  The  best 
prints  are  generally  those  which  are  left  long 
enough  to  assume  a  depth  of  shade  nearly  the  in- 
tensity that  may  be  wanted  when  finished  and 
dried,  rather  darker  than  the  color  desired,  in  or- 
der that  the  time  occupied  in  the  toning  bath  shall 


TONING   OR   FIXING    THE    PKINT.  68 

fix  the  color,  to  lighten  the  shades  only  in  a  slight 
degree,  • 

Prints  that  are  too  dark  on  removal  from  the 
printing  frame,  can  be  rendered  sufficiently  light 
by  a  long  action  of  the  toning  bath.  But  such 
prints  will  be  the  more  likely  to  assume  a  yellow 
hue,  and  ultimately  fade.  The  shortest  time  in  the 
toning  bath  to  produce  the  desired  shade  and  color 
is  recommended.  Therefore  prints  should  not  gen- 
erally be  overdone  or  over-printed  when  one  toning 
bath  is  used. 

Tlie  kind  of  j^rinting  frames  recommended  are 
described  on  page  109. 

After  the  picture  is  removed  from  the  printing 
frame,  it  must  be  carefully  excluded  from  the  light, 
by  jjlacing  it  in  a  portfolio  or  drawer,  or  where  no 
vapors  can  reach  it.  A  number  of  prints  may  be 
jsrepared  and  laid  aside,  and  all  toned  or  fixed  at 
once. 

TONING  OR   FIXING  THE  PRINT. 

The  beautiful  tone  or  color  of  the  prints  in  their 
removal  from  the  jDrinting  frame,  has  been  a  sub- 
ject of  remark  by  many  operators,  and  various 
efforts  have  been  made  to  preserve  that  most  to  be 
desired  color,  yet  it  lias  never  been  accomplished. 


64:  TONING   OR  FIXING   THE    PKINT. 

As  soon  as  the  fixing  solution  comes  in  contact 
with  the  paper,  a  great  change  takes  phice,  which 
does  indeed  arrest  tlie  progress  of  the  light,  but 
produces  another  and  entirely  diverse  change.     As 
the  art  j)rogresses,  some  devotee  may  luckily  ar- 
rive at  the  discovery  of  fixing  the  exact  tone  and 
color  seen  on  its  removal  from  the  printing  frame. 
The  first  operation  of  toning  the  picture  is  to 
place  it  in  a  bath  of  clear  water,  in  a  dark  room, 
of  course,  or  in  a  salt  solution  of  two  or  three 
ounces  of  salt  to  one  quart  of  water.    This  removes 
all  the  chloride  of  silver  not  acted  upon  by  the 
light.     They  should  remain  in  the  salted  solution 
only  a  short  time,  say  one  or  two  minutes,  then 
place  them  in  a  bath  of  pure  water  to  remove  the 
superfluous  salt.     This  plan  of  first  placing  the 
print  in  a  solution  of  common  salt  may  be  omitted. 
It  may  be  placed  immediately  on  removal  from 
the  frame  into  the  toning  bath,  or  it  may  be  laid  in 
a  portfolio,  and  excluded  entirely  from  the  light 
for  several  hours,  then  placed  in  the  toning  bath. 
After  which  they  may  be  brought  out  in  the  light 
and  placed  in  the  toning  bath,  as  found  on  page 
94,  and  allowed  to  remain  there  until  the  desired 
color  is  attained,  wliich  will  vary  according  to  the 
strength  of  the  bath  and  the  depth  of  the  print — 


WASHING    POSITIVE   PRINTS.  65 

generally  from  ten  to  thirty  minutes  for  ordinary 
prints,  yet  sometimes  one  or  two  liom's  are  neces- 
sary. They  must  be  carefully  watched  in  the 
bath,  and  as  soon  as  sufiicient  time  has  elapsed  to 
produce  the  desired  tone,  remove  them  to  a  bath 
of  clear  water. 

WASHIN'G  POSITIVE   PEI^TS. 

This  portion  of  the  photographic  jDrocess  is  of 
great  importance,  for  unless  the  prints  are  well 
washed,  so  as  to  remove  every  trace  of  hyposul- 
phite of  soda,  they  will  invariably  fade  or  turn 
yellow.  Various  methods  are  adopted  to  remove 
the  hyposulphite,  but  the  plan  most  likely  to  in- 
sure that  result  is  of  course  recommended.  The 
longer  the  jjrints  remain  in  the  water,  and  the 
oftener  they  are  changed,  will  of  course  more  eft'ect- 
ually  remove  the  destroying  agent.  Strange,  in- 
deed, that  the  very  substance,  hyposulphite  of  soda, 
which  adds  so  much  beauty  to  the  Photograpli, 
should  be  the  very  one  to  cause  its  destruction. 

The  most  expeditious  method  is  to  place  the 
print  on  a  piece  of  plate-glass,  and  allow  a  stream 
of  water  to  fall  upon  it  for  a  few  minutes.  Then 
press  it  between  clean  white  blotting-paper,  re- 
peating the  operation  two  or  three  times.     It  has 

6* 


66  WASHING    POSITIVE    PRINTS. 

been  found  that  tlie  oftener  the  water  is  changed 
in  the  washing  process,  the  more  beautiful  the 
tones  of  the  prints.  Nor  slioukl  they  remain  for 
any  great  length  of  time  in  one  vessel  of  water. 
The  better  plan  to  adopt,  when  it  is  possible,  is  to 
place  the  prints  in  a  flat  dish  or  tub,  where  they 
will  float,  and  where  a  constant  stream  of  water 
is  running  in,  and  of  course  another  stream  dis- 
charging as  fast  as  the  supply  is  given.  A  very 
small  stream  will  suSice.  By  the  foregoing  ar- 
rangements, all  those  spots  and  stains  so  frequently 
met  with  will  be  avoided. 

The  washing  of  Photographs  may  sometimes  be 
completed  by  placing  them  in  a  large  vessel  of 
water,  and  allowing  them  to  remain  for  several 
hours.  This  can  only  be  done  after  they  have 
been  first  immersed  in  several  changes  of  water, 
say  five  or  ten  minutes  in  each.  Still  another  plan 
of  removing  the  hyposulphite  of  soda  is  highly 
recommended  in  the  immersion  of  the  prints  in 
wariti  water.  By  changing  it  often  M'ith  cold 
water,  and  allowing  it  to  remain  for  about  an  hour 
in  warm  water,  it  will  most  effectually  remove  the 
traces  of  the  soda.  Lastly,  press  each  print  be- 
tween two  thick  pieces  of  plate-glass,  and  hang 
them  up  to  dry. 


MOUNTING   THE    PICTURE.  67 

All  these  various  methods  are  adopted  by  the 
profession,  and  the  successful  operator  will  follow 
those  most  convenient  of  practice,  carefully  observ- 
ing, in  order  to  produce  excellent  results,  that  the 
prints  shall  not  remain  more  than  ten  minutes 
in  the  first  or  second  bath  of  pure  water,  because 
the  chemicals  which  pass  into  the  water,  and  are 
so  necessary  to  remove  in  order  to  fix  the  impres- 
sion permanently,  are  likely  to  injure  the  beauty 
and  tone  of  the  picture. 

DRYING,   VARNISHING,   AND  MOUNTING  THE 

PICTURE. 

The  prints  may  be  hung  up  in  the  clothes-pins 
to  dry,  but  not  in  the  sun.  As  soon  as  they  are 
well  dried,  place  them  in  a  portfolio,  or  between 
leaves  of  white  paper,  and  press  them  under  some 
object,  so  that  they  shall  not  wrinkle.  They  are 
then  ready  for  mounting  and  varnishing. 

The  varnish  for  pictures  is  made  as  described 
on  page  100,  and  may  be  laid  on  the  picture  before 
it  is  cut  in  the  shape  required,  or  it  may  be  eflTected 
after  it  is  on  the  card-board. 

A  solution  of  dextrine,  prepared  as  described  on 
page  104,  is  the  best  for  holding  the  print  in  its 
place  ;  yet  simple  gum-arabic  will  answer  if  it  lias 


68  MOUNTING   THE   PICTURE. 

been  thoroughly  strained  and  cleared  of  all  parti- 
cles of  dust. 

Tlie  shape  of  the  print  may  be  made  by  laying 
a  mat  or  border  over  it  of  any  desired  size,  then 
marking  with  a  pencil,  and  afterwards  cutting  it 
carefully  with  the  scissors.  Or  it  may  be  laid  on 
a  piece  of  plate-glass,  with  the  mat  laid  over  it, 
and  cutting  it  into  shape  with  a  sharp  penknife. 

In  pasting  the  print  upon  tlie  card-board,  great 
care  must  be  observed  that  no  wrinkles  are  allowed 
on  the  surface,  as  they  will  invariably  injure  the 
print.  After  the  prints  are  pasted  on  the  boards, 
they  should  be  laid  under  a  pressure,  so  that  great 
smoothness  of  surface  shall  be  attained.  A  warm 
flat-iron  is  sometimes  used  with  good  success,  by 
laying  a  piece  of  white  paper  over  each  print,  and 
carefnlly  pressing  it  smooth. 


CHAPTER  IV. 

TO  COPY  daguerreotypp:s  and  other  pictures  into 

PHOTOGRAPHS ON  ENLARGING  PICTURES TO  EN- 
LARGE PICTURES  FROM  DAGUERREOTYPES,  AMBRO- 
TYPES,  OR  PHOTOGRAPHS AND  TO  PRODUCE  PHO- 
TOGRAPHS FROM  THEM TO  MAKE  LIFE-SIZE  PHOTO- 
GRAPHS ON  PAPER IRON  PHOTOGRAPHS,  OR  IN- 
STANTANEOUS   PRINTING ON   TAKING    STEREOSCOPE 

PICTURES,    PHOTOGRAPHIC    VIEWS,    ETC.,    ETC. 

The  copying  of  Daguerreotypes  into  other  Da- 
guerreotypes, lias  long  been  in  practice.  Latterly 
they  have  been  successfnlly  copied  into  Ambro- 
types  and  Photographs.  But  Photography  has 
gone  still  further,  and  life-size  pictures  are  now 
produced  which,  wlien  painted  by  the  skilful  art- 
ist, have  rivalled  the  creations  of  most  painters, 
both  in  the  correctness  and  faithfulness  of  the  like- 
ness, which  must  needs  be  intallible. 

The  last  great  achievement  of  the  Photographic 
Art,  is  the  production  of  life-size,  full-lengtli  por- 


70  ENLAKGEMENT    OF    PICTURES. 

traits.  This  is  accomplished  by  the  means  of  the 
new  solar  camera,  lately  introduced,  which  bids 
fair  to  supersede  all  other  methods  of  enlarging 
pictures.  Those  who  may  not  possess  the  new  solar 
camera,  can  adopt  the  following  process,  which 
will  be  found  very  useful  and  practical. 


TO  ENLARGE  PICTURES  FROM  DAGUERREOTYPES, 

AMBROTYPES,  OR  PHOTOGRAPHS— AND  TO 

PRODUCE  PHOTOGRAPHS  FROM  THEM. 

The  following  apparatus  will  be  required  for  the 
process,  viz. : 

One  quarter-plate  tube,  and  lens. 
One  whole-plate  camera  box. 
One  or  two  mirrors  to  be  used  as  reflectors. 
One  camera  box,  capable  of  holding  a  glass  14  by  17 
inches. 

The  pictures  or  portraits  more  frequently  re- 
quired to  be  enlarged  are  the  ordinary  Daguerreo- 
types, from  the  fact  that  these  are  the  kind  of  por- 
traiture the  longest  in  use.  Many  are  desirous  of 
obtaining  portraits  of  their  deceased  friends,  life- 
size,  and  the  demand  for  that  class  of  pictures  is 
consequently  greater  than  any  other. 

The  plan  more  easily  adopted,  is  first  to  take  a 
negative  from  the  Daguerreotype  of  the  ordinary 


p;nlargement  of  pictures.  71 

half  or  wliole  plate  size,  which  is  effected  by  the 
use  of  a  quarter-plate  tube  on  a  whole-size  camera 
box.  Place  the  picture  to  be  enlarged,  whether  it 
be  a  Daguerreotype,  Anibrotype,  or  Photograph, 
in  the  direct  rays  of  the  sun,  or  by  reflecting  the 
sun  upon  it  with  a  mirror,  then  bringing  the 
camera  box  as  near  the  picture  as  will  be  required 
to  produce  the  desired  size  ;  the  focus  being  taken, 
a  negative  can  easily  be  obtained  by  exposure  of 
thirty  seconds  to  a  minute  and  a  half.  The  nega- 
tive should  be  as  large  as  possible  if  on  a  half- 
plate,  in  order  that  it  may  be  enlarged  to  life  size 
by  the  next  operation. 

From  the  print  now  obtained,  which  must  be 
first  pasted  on  a  card-board,  another  negative  can 
be  produced,  either  of  the  cabinet  or  life  size,  with 
the  quarter  tube  attached  to  the  camera  box,  which 
must  be  capable  of  holding  glasses  of  11  by  Itt 
inches,  and  14  by  17.  Place  the  pictures  in  the 
direct  rays  of  the  sun,  or  use  a  reflector  as  before, 
and  any  size  may  be  taken,  up  to  the  size  of  life, — 
showing,  of  course,  only  the  head  and  shoulders. 

The  print  from  this  negative  M'ill  not  be  so  dis- 
tinct in  the  outline  as  though  it  was  taken  from 
life  ;  yet  it  will  retain  all  the  outline  and  suflicient 
of  the  details  for  all  purposes  of  painting,  and  it 


72  ENLARGEMENT   OF   PICTURES. 

may  be  printed  either  upon  paper  or  canvas  with 
the  same  facility  as  ordinary  Photographic  jjrint- 
ing. 

In  order  to  insure  a  more  perfect  negative,  it 
may  sometimes  become  necessary  to  use  more  than 
one  mirror  as  a  reflector  of  the  sun's  rays  upon  the 
surface  of  the  picture.  The  more  powerful  the  re- 
flection the  more  distinct  will  be  the  negative. 
Tlie  re-developing  with  bi-chloride  of  mercury,  as 
given  on  page  92,  is  highly  recommended  in  this 
process. 

A  negative  may  be  taken  without  the  direct 
rays  of  the  sun  from  any  picture;  but,  in  enlarg- 
ing, the  i)owerful  light  of  the  sun  is  deemed  al- 
most indispensable,  as  it  greatly  facilitates  the  pro- 
cess, and  renders  the  time  required  much  shorter, 
and  secures  a  more  intense  and  definite  neo-ative. 

Should  the  Daguerreotype  be  an  imperfect  one, 
as  is  frequently  tlie  case,  of  course  all  the  imper- 
fections will  be  magnified,  yet  they  can  be  entirely 
removed  by  the  skill  of  the  painter. 

The  usual  time  required  for  taking  the  negative, 
life-size,  will  vary  from  a  minute  to  ten  minutes. 
In  consequence  of  the  large  size  and  the  long  dis- 
tance of  the  ground  glass  from  the  lenses,  the  time 
of  exposure  in  the  camera  is  greatly  augmented. 


IRON    PHOTOGRAPHS.  73 


IRON"  PHOTOGRAPHS,  OR  INSTANTANEOUS  PRINT- 
ING OF  NEGATIVES  WITH  A  DEVELOPER. 

A  process  has  lately  been  introduced  for  print- 
ing negatives,  with  the  use  of  a  preparation  of 
iron  :  hence  the  name  Iron  Photographs.  This 
process,  liowever,  is  a  revival  of  an  old  one.  It 
will  be  found  very  useful  on  many  occasions, 
when  expedition  is  required,  as  a  negative  may 
be  taken  and  the  positive  picture  printed,  washed, 
toned,  and  dried  in  the  same  time  as  an  ordinary 
Ambrotype.    The  process  is  as  follows : 

Water 1  pint. 

Citric  acid 1  ounce. 

Ammonia  citrate  of  iron         .         .         .     1  ounce. 
Concentrated  ammonia  .         .         .1  ounce. 

Mix  these  ingredients,  and  filter,  and  keep  in  a 
glass-stoppered  bottle,  excluded  from  the  light  of 
day. 

Apply  this  solution  with  a  flat  camel's-hair  brush 
on  one  side  only  of  the  photographic  paper,  care- 
fully laying  it  on  even  by  brushing  it  in  both  di- 
rections. Then  hang  it  up  to  dry  in  a  dark  room. 
When  dry,  it  may  be  cut  ijito  suitable  sizes  for 
printing,  and  kept  in  a  portfolio.  The  paper  will 
assume  a  yellow  color.     Print  with  the  ordinary 

7 


74:  THE    TONING    BATH. 

printing  frames,  but  only  for  a  short  time,  until  the 
faint  outlines  appear.  Remove  from  the  printing 
frame,  and  apply  the  developing  solution  either  by 
immersing  in  a  flat  dish,  or  pouring  it  on  the  pa- 
per after  laying  it  upon  glass. 

THE  DEVELOPING   SOLUTIOK 

Nitrate  of  silver  .         .        .        .        j  ounce. 

Water 1  pint. 

Aqua  ammonia  ......         |  ounce. 

Filter  the  solution,  and  use  over  again. 

THE   TOXING   BATH. 

Hyposulphite  of  soda    ....       1  ounce. 

Water 1  pint. 

Nitro-muriatic  acid       .         .         .         .10  drops. 

"Wash  the  print  well  after  developing,  and  place 
it  in  this  toning  bath  for  a  short  time,  and  the  color 
will  be  changed  from  the  deep  reddish  hue  that 
it  has  assumed  by  the  developer,  to  a  purple  color. 

The  print  must  now  be  washed  quickly  in  three 
or  four  waters,  and  placed  between  sheets  of  blot- 
ting-paper, and  dried  by  the  spirit-lamp.  Should 
the  tone  not  be  desirable,  a  modification  of  the 
toning  bath  may  be  made  by  changing  the  propor- 
tions of  hyposulphite  and  the  addition  of  chloride 
uf  gold.     The  tone  maybe  improved  snmetimes  bv 


THE   STEREOSCOPE.  75 

exposure  of  the  print  for  a  few  seconds  to  the  di- 
rect rays  of  the  snn.  The  addition  of  a  saturated 
solution  of  gallic  acid  to  the  developer,  in  small 
quantities,  will  change  the  tone ;  but  it  cannot  be 
used  over  again.  Therefore  only  mix  enough  for 
each  print  as  it  may  be  required  for  use. 

The  sepia  tone  may  be  given  these  prints  by 
omitting  the  hyposulphite  bath  entirely,  merely 
washing  them  in  water  thoroughly  after  develop- 
ing, but  they  will  be  more  liable  to  fade. 

Photographs  by  this  new  process  may  be  printed 
from  a  weak  negative,  and  even  an  ambrotype  im- 
pression will  answer.  The  tone  of  the  prints  will 
not  be  equal  to  those  printed  by  the  old  process  ; 
but  sometimes  expedition  may  be  required,  and 
Photographs  can  be  taken  and  finished  as  soon  as 
Daguerreotypes  or  Ambrotypes. 

THE  STEREOSCOPE. 
Stereoscope  pictures  are  considered  by  some 
operators  as  the  most  valued  of  the  productions  ot 
the  Photographic  Art.  If  they  are  properly  exe- 
cuted, they  are  indeed  the  most  curious  and  in- 
structive of  any  branch  of  Photography,  though 
they  have  not  received  that  attention  in  this  coun- 
try  which  they  have  merited, — mainly,  however. 


76  THE    STEREOSCOPE. 

from  the  fact  that  few  operators  have  devoted  much 
attention  to  their  production.  The  most  pleasing 
are  Photograph  views. 

The  stereoscope  is  an  instrument  invented  by 
Prof.  Wheatstone,  for  combining  two  slightly  dis- 
similar images,  so  that  out  of  two  flat  pictures  one 
apparently  real  or  solid  object  is  produced — having 
all  the  projections,  concavatures,  and  other  pecu- 
liarities of  the  object  itself,  and  standing  out  in  all 
the  strength  and  solidity  of  an  actual  tangible  ob- 
ject. 

Tlie  reason  why  two  flat  images  should  produce 
the  effect  of  solidity,  and  a  slight  consideration  of 
the  best  means  of  producing  these  flat  pictures,  so 
that  they  shall  produce  in  the  most  proper  manner 
this  extraordinary  result,  will  now  be  given. 

Ordinary  vision  may  be  considered  under  the 
two  heads  of  Monocular,  or  vision  by  one  eye,  and 
Binocular,  or  vision  by  two  eyes.  If  we  look 
through  a  telescope,  microscope,  or  single  opera- 
glass,  or  close  one  eye,  we  have  monocular  vision ; 
and  by  using  two  eyes,  or  spectacles,  or  double 
opera-glasses,  we  have  binocular  vision. 

Let  us  first  consider  monocular  vision.  If  we 
close  one  eye  and  look  at  objects,  we  perceive  them 
by  their  forms,  sizes,  colors,  and  gradations  of  light 


TIIK   STEREOSCOPE.  77 

and  shade ;  and  reason  and  experience  tell  us  that 
these  appearances  vary  as  the  objects  are  near  or 
distant  from  us.  We  find  that  as  objects  recede 
they  become  smaller,  apparently,  in  size,  and  this 
decrease  in  size  is  according  to  fixed  laws,  upon 
which  perspective  is  based.  We  also  observe  that 
light  and  shade  are  less  marked,  the  colors  less 
brilliant,  the  details  less  clear,  and  the  whole  of 
the  objects  less  distinct;  and  according  to  these 
changes  do  we  estimate  relative  distances.  Upon 
this  principle  the  artist,  in  his  landscape,  paints  his 
distant  objects  small,  vague,  and  indistinct,  while 
the  foreground  is  brought  out  strongly  with  abun- 
dance t)f  detail;  and  in  proportion  as  this  is  done 
skilfully,  we  admire  it  as  an  imitation  of  nature. 
There  is,  also,  another  means  of  judging  of  distance. 
The  eye,  like  other  optical  instruments,  has  con- 
stantly to  change  its  focus,  according  to  distances 
to  which  it  is  directed,  and  this  change  of  focus  is 
another  means  of  estimating  distance. 

Stereoscopic  pictures  may  be  taken  either  with 
one  or  two  cameras.  If  the  object  be  still-life,  a 
statue,  or  edifice,  then  one  camera  will  do  better 
than  two,  for  you  may  set  the  camera  at  any  point 
and  work  away  until  you  produce  a  satisfactory 
impression.      Having    o])tained    that,  move   the 


78  oTHE   STEREOSCOPE. 

camera  to  the  other  point  of  view,  and  again  work 
until  you  have  achieved  your  object.  But  if  you 
should  have  a  picture  of  living  objects  to  take,  it 
is  very  desirable  to  produce  the  two  pictures  simul- 
taneously by  two  cameras ;  for  taking  a  view  of  a 
street,  for  instance,  where  figures  are  accidentally 
introduced,  you  might  have  them  in  one  picture 
and  not  in  the  other,  or  misplaced,  unless  you  ob- 
tained both  pictures  at  the  same  time.  But  for 
portraits,  though  it  is  desirable  to  take  both  im- 
pressions at  once,  it  is  not  necessary.  And  now 
comes  the  important  inquiry,  how  far  removed 
should  the  cameras  be  from  each  other  in  order  to 
produce  the  best  effect  ?  or,  in  other  words,  how 
wide  should  the  stereoscopic  angle  be  ?  This  is  a 
question  often  put,  but  not  so  easily  answered. 
Strictly  speaking,  the  natural  standard  may  easily 
be  cited,  and  an  answer  based  on  it  be  given.  The 
eyes  are  2j  inches  apart,  and  as  each  camera  is  to 
represent  an  eye,  the  centres  of  tlie  two  lenses 
should  never  be  more  than  that  separated.  This  is 
the  strict  theoretical  doctrine  laid  down  by  Sir  D. 
Brewster,  nevertheless  it  is  very  seldom  adopted  in 
practice.  It  has  been  stated,  tliat  the  more  dis- 
similar the  two  stereoscopic  images  are,  the  greater 
the  relief,     ISTow,  dissimilarity  of  image  is  obtained 


PHOTOGRAPH    VIKWS.  79 

by  widening  tlie  distance  between  the  two  came- 
ras, and  the  greater  the  width  or  angle  the  greater 
tlie  relief.  As  the  stereoscope  is  chiefly  valued 
for  the  production  of  this  relief,  the  generality  of 
stereoscopic  pictures  have  been  and  are  taken  at 
too  wide  an  ano-le,  so  that  monstrous  instead  of 
natural  relief  is  the  result.  If  two  pictures  are 
taken  at  the  same  angle,  no  relief  is  obtained  but 
that  which  is  due  to  the  magnifying  power  of  the 
lenses.  Increase  the  angle  a  little,  and  still  greater 
relief  is  jiroduced ;  increase  the  angle  still  more, 
and  so  on  until  you  have  passed  the  angle  that 
produces  natural  relief,  and  reached  that  wdiich 
produces  monstrosity. 

ISTearly  all  stereoscopes  will  have  more  or  less 
of  imperfection  in  the  detail,  owing  to  the  fact  that 
no  two  pair  of  eyes  view  the  same  pictures  in  the 
same  focus.  Hence  we  And  some  persons  who 
cannot  see  the  stereoscope  pictures  at  all. 

PHOTOGRAPH   VIEAYS. 

Yiews  b}^  the  Photographic  process  are  attract- 
ing the  attention  of  the  artists  in  this  country,  and 
deservedly  so.  They  are  easily  taken,  because  an 
ample  supply  of  light  is  always  obtained.  Tlie 
only  objection  is  the  necessity  of  transporting  the 


80  PHOTOGRAPH    VIRWS. 

various  solutions  to  the  localities  where  the  view 
is  to  be  taken.  This  difficulty  is  overcome  by  the 
new  dry  processes  which  have  been  published 
lately.  The  albumen  process  on  paj)er,  page  61, 
is  highly  recommended  for  views,  as  the  tone  of 
those  pictures  is  more  appropriate  for  this  style  of 
Photographs. 

It  is  not  necessary  here  to  enter  into  the  details-, 
of  the  processes.  Suffice  it  to  say,  that  the  same 
collodions  are  to  be  used,  and  the  same  developers, 
as  in  the  process  for  taking  portraits.  The  lenses 
of  the  ordinary  camera,  however,  must  be  changed 
to  convert  it  into  a  view  camera.  It  is  done 
simply  by  removing  entirely  the  set  of  lenses  in 
the  rear  of  the  tube,  and  placing  the  front  lens  in 
their  stead,  and  reversing  them.  It  will  also  be 
necessary  to  put  a  diaphragm,  with  a  very  small 
opening,  in  front  of  the  tube,  or  near  the  location 
of  the  front  lens.  The  time  of  exposure  required 
in  the  camera  with  a  small  diaphragm,  will  neces- 
sarily be  somewhat  extended  in  order  to  produce 
vigorous  negatives.  The  use  of  the  diaphragm  is 
absolutely  necessary  in  order  to  correct  the  perspec- 
tive of  near  and  distant  objects.  Also  to  cut  ofi*a 
portion  of  the  diffused  light,  which  would  other- 
wise injure  the  negative. 


CHAPTER   V. 

ON     THE    PREPARATION     OF    NE;GATIVE    COLLODIONS 

THE  FORMULA   FOR  NEGATIVE    COLLODIONS MIXING 

VARIOUS    COLLODIONS DISSOLVING    THE    IODIDES 

DOUBLE  IODIDE  COLLODIONS THE  CELEBRATED  GER- 
MAN PROCESS  COMPLETE THE  NEGATIVE  DEVEL- 
OPING SOLUTIONS RE-DEVELOPING  PROCESS BI- 
CHLORIDE OF  MERCURY  AS  A  RE-DEVELOPER FIXING 

SOLUTION THE  TONING  BATHS — THE  AMMONIA  NI- 
TRATE  OF   SILVER   SOLUTION. 

This  chapter  will  be  devoted  to  careful  and  de- 
tailed formulae  for  the  preparation  of  the  negative 
collodions,  the  developing  solutions,  and  including 
all  the  various  receipts  necessary  to  be  well  under- 
stood in  the  practice  of  the  Photographic  Art. 

Indeed,  this  chapter  will  assume  one  most  en- 
tirely of  reference,  and,  as  will  be  seen,  it  must 
frequently  require  mention  in  other  portions  of 
this  work. 


82  CADMIUM    COLLODION. 

NEGATIVE   COLLODIONS. 

For  the  preparation  of  negative  collodions,  we 
shall  only  give  the  proportions.  The  manner  of 
dissolving  the  sensitive  chemicals  will  generally 
be  left  to  the  judgment  and  experience  of  the 
operator, 

THE   AMMONIA   COLLODION. 

No.  1.  Plain  collodion  ...  1  ounce. 
Iodide  of  ammonia  ...  6  grains. 
Bromide  of  ammonia        .         .       3  grains. 

With  the  nitrate  of  silver  bath  neutral,  and  of  a 
strength  of  50  grains  of  silver  to  each  ounce  of 
water. 

CADMIUM   COLLODION. 

No.  2.  Plain  collodion  ...  1  ounce. 
Iodide  of  cadmium  .         .       7  gi'ains. 

Bi-omide  of  cadmium       .         .       3  grains. 

Nitrate  bath  50  grains  to  the  ounce. 

This  collodion  is  greatly  in  use  in  warm  climates. 

No.  3.  Plain  collodion  ...  1  ounce. 
Iodide  of  potassium  .         .       8  grains. 

Bromide  of  ammonia        .         .       3  grains. 

Bath  of  40  grains  to  the  ounce. 
This  collodion  is  highly  recommended  for  nega- 
tives when  combined  equally  with  the  ammonia 


THE   COMPOUND   CADMIUM    COLLODION.  83 

collodion  JSTo.  1.  It  will  be  found  to  work  in  some 
baths  when  no  other  collodion  will  succeed.  It 
may  be  used  also  for  Ambrotypes. 

The  practice  of  the  most  successful  operators  has 
taught  them  that  the  mixino;  of  two  collodions  of 
diverse  proportions,  and  made  of  different  chemi- 
cals, will  be  found  the  most  useful,  and  work  with 
more  certainty.  The  author  himself  would,  there- 
fore, enjoin  this  hint  upon  those  who  may  practice 
from  the  foregoing  formulae. 

THE  COMPOUND  CADMIUM  COLLODION. 

No.  4.     Plain  collodion         ...       1  ounce. 

6  grains. 


Iodide  of  cadmium 
Bromide  of  cadmium 
Iodide  of  potassium 
Tincture  of  iodine    . 


3  grains. 
5  grains. 
5  drops. 


Nitrate  bath  of  50  grains  to  the  ounce.  The 
bath  to  be  iodized  witli  iodide  of  cadmium. 

Dissolve  tlie  iodide  of  jjotassium  in  water,  and 
the  cadmium  in  alcohol. 

The  foregoing  collodion  is  the  one  highly  recom- 
mended for  use,  especially  in  warm  latitudes.  It 
is  the  most  durable,  and  it  improves  by  age,  re- 
taining its  working  qualities  for  several  mpnths. 
The  author  has  adopted  the  cadmium  collodion,  in 
many  instances  w^ith  great  success,  especially  when 


84  DOUBLE-IUDIZKD    COLLODION. 

it  is  combined  in  eqnal  parts  with  the  ammonia 
collodion  No.  1. 

To  unite  the  sensitive  ingredients  with  all  collo- 
dions, it  is  recommended  to  dissolve  them  first  in 
a  small  quantity  of  alcohol  when  they  are  soluble 
in  that  substance,  and  only  use  water  when  they 
will  not  otherwise  dissolve.  Always  dissolve  the 
bromides  first,  and  add  the  iodides  to  the  same 
solution.  The  iodide  of  ammonia  and  bromide  of 
ammonia  will  dissolve  in  alcohol  if  a  small  quan- 
tity of  water  is  added.  Iodide  and  bromide  of 
cadmium  will  dissolve  readily  in  alcohol  alone. 

A  DOUBLE-IODIZED   COLLODIOK 

The  following  formula  is  compounded  in  a  dif- 
ferent manner  from  any  other,  and  is  one  that  is 
highly  recommended.  Prepare  two  bottles  of  col- 
lodion separately,  as  follows 


No.  1.     Plain  collodion 

Bromide  of  potassium 
Iodide  of  potassium. 

Ko,  2.     Plain  collodion 

Iodide  of  ammonia 
Iodide  of  cadmium 


1  ounce. 

5  grains. )  Dissolved 

8  grains. )    in  water. 


5  grains.) 
3  grains. ) 


Dissolved 
grains.  S    in  water. 


'No.  1  will  produce  clear  negatives,  and  perhaps 
rather  weak.   No.  2  will  produce  one  very  intense. 


TO    SKNSITIZK   THE   COLLODION.  85 

But  mix  these  two  collodions  in  equal  proportions 
after  they  have  well  settled,  and  the  most  perfect 
half-tints  are  obtained.  Should  it  be  desirable  to 
produce  a  negative  of  more  intensity,  use  a  larger 
proportion  of  No.  2.  In  like  manner,  if  a  mixture 
of  equal  proportions  produces  too  much  intensity, 
then  increase  tlie  quantity  of  No.  1. 

It  will  be  found  on  using  the  two  collodions 
above,  separately,  that  as  one  will  produce  a  weak 
negative,  and  the  other  a  deep  one,  they  can  be  so 
modified  by  uniting  them  in  the  proper  proportions, 
that  any  degree  of  intensity  may  be  obtained. 

THE   GERMAN   PROCESS. 

The  following  method  of  preparing  negative  col- 
lodion has  been  found  to  be  very  excellent  in  its 
results,  and  is  known  as  the  German  process,  so 
modified  and  rendered  practical  that  any  operator 
can  work  it  successfully. 

The  plain  collodion  is  to  be  made  with  10  ounces 
of  ether  and  5  of  alcohol,  rendered  of  the  requisite 
consistency  by  the  addition  of  gun-cotton. 

TO   SENSITIZE   THE   COLLODION. 

Nitrate  of  silver  dis-!olved  in  water     .       50  grains. 
Iodide  of  ammonia  dissolved  in  water      40  grains. 

Mix  the  two  solutions,  and  wash  the  precii^itate 

8 


86  NITRATE    BATH. 

* 

in  several  waters  ;  lastl}^,  wash  in  alcohol.     Then 
make  the  following  compound  : 

Alcohol  at  95°         .        .        .  2  fluid  ouQces. 

Iodide  of  ammonia  .         .       100  grains. 

Bromide  of  ammonia       .         .        40  grains. 

When  dissolved,  add  the  iodide  of  silver,  and 
agitate  the  whole  for  several  minutes  ;  -then  filter 
through  common  filtering-paper,  and  add  the  liquid 
to  20  ounces  plain  collodion;  agitate  the  collodion 
for  a  short  time,  and  add  to  it  as  follows  : 

Fluoride  of  ammonia  ...       40  drops. 

Tincture  of  iodine       ....       10  drops. 

This  iodized  collodion  may  be  used  in  12  hours, 
but  is  much  improved  by  standing  3  or  4  days. 
The  tincture  of  iodine  used  in  the  collodion  is 
simply  a  saturated  solution  of  alcohol  at  95°,  with 
pure  crystals  of  iodine. 

NITRATE   BATH. 

Distilled  water     ....  56  fluid  oz. 

Nitrate  of  silver  .         .         .  4i  oz.  by  weight. 

Dissolve  the  silver  in  8  oz.  of  the  56  oz.  of  water. 

Then  add  iodide  of  aTumonia        .  10  grains. 

"White  sugar  or  rock-candy  .  120  grains. 

"When  dissolved,  add  the  remainder  of  the  water, 
and  in  this  condition  let  the  bath  stand  12  hours; 


KE-DEVELOPINQ.  87 

then  filter  through   common   filtering-paper,  add 
30  drops  glacial  acetic  acid,  and  it  is  fit  for  use. 

DEVELOPING   SOLUTION   FOR   NEGATIVES. 

Pure  soft  watei-  .         .         .         .16  ounces. 

Sulphate  of  iron  ....         1  ounce. 

Alcohol  at  95°  ....         1  ounce. 

Acetic  jfcid,  No.  8  .         .         ,         .         2  ounces. 

First  dissolve  the  iron,  then  add  the  remaininof 
properties,  and  when  filtered  it  is  ready  for  use. 

FIXING  SOLUTION.  • 

This  is  simply  an}'-  quantity  of  water  saturated 
with  hyposulphite  of  soda. 

PvE-DEVELOPING. 
The  negative  is  re-developed  after  it  has  been 
cleared  up.     Make  a  saturated  solution  of  gallic 
acid  in  distilled  water  1  ounce,  then  add  30  drops 
of  the  folio  win  o;  solution  : 


C5 


Distilled  water  ....         1  ounce. 

Nitrate  of  silver  ....       35  grains. 

When  this  solution  is  filtered,  it  may  be  used  as 
follows :— After  the  negative  has  been  fixed  and 
washed,  pour  on  it  of  the  re-developing  solution  a 
quantity  sufficient  to  cover  the  plate,  and  keep  it 


88  NEGATIVE   DEVELOPING   SOLUTIONS. 

on  until  tlie  required  intensity  is  obtained,  then 
wash  with  water  and  dry.  In  developing  and  re- 
developing, the  solutions  must  be  kept  gently  and 
constantly  moving  on  the  plate  ;  for  if  allowed  to 
stand  still,  or  to  remain  for  any  length  of  time  on 
one  portion  of  the  plate  more  than  on  other  parts, 
the  plate  is  liable  to  lines  or  streaks.     -^ 

This  re-developing  process  is  not  recommended, 
and  if  the  collodion  and  bath  are  properly  made, 
need  never  be  adopted  except  it  may  be  in  dark 
weather,  or  when  a  child's  likeness  is  taken.     For 
it  will  always  be  found  that  the  resulting  negative 
is  never   so  well    adapted   for  printing.      There- 
fore,  as   soon  as  one  finds  that  he   cannot  pro- 
cure negatives  sufficiently  intense  in  an  ordinary 
exposure  without  re-developing,  he  may  be  assured 
there  is  some  portion  of  his  chemicals  at  fault. 
The  first  opportunity  should  be  embraced  to  reme- 
dy the  difficulty :  first,  by  changing  the  nature  of 
the  nitrate  bath,  then  the  collodion  and  developing 
agent.  ^ 

THE   NEGATIVE   DEVELOPING   SOLUTIONS. 
The  developing  solutions  which  are  required  for 
the  negative  pictures  are  not  very  numerous.     The 
one  mostly  in  use  is  composed  of  protosulphite  of 


NEGATIVE   DEVELOPING   SOLUTIONS.  89 

iron  and  acetic  acid.  With  this  alone,  and  the 
various  modifications,  all  the  different  varieties  of 
negatives  are  produced  in  this  country.  In  Europe 
the  developing  solutions  mostly  in  use  are  com- 
posed of  pyrogallic  acid. 

The  developing  process  must  be  thoroughly  un- 
derstood before  good  results  can  be  obtained. 
And,  firs|,  the  nature  of  the  collodion  and  the  ni- 
trate bath  must  be  known  in  order  to  form  the  de- 
veloper so  as  to  produce  the  best  results  wnth  that 
combination.  The  following  formula  will  be  the 
best  adapted  for  working  the  neutral  bath  of  50 
grains  to  the  ounce,  with  the  ammonia  or  cadmium 
collodion,  as  prepared  on  page  82. 

Protosulphite  of  iron  ...       2  ounces. 

Water 1  quart. 

Acetic  acid,  ISTo.  8       ....       6  ounces. 

The  iron  is  first  dissolved  in  the  water  and  fil- 
tered, and  the  acetic  acid  is  added  in  the  above 
proportions,  but  only  as  it  may  be  required  for 
use.  It  will  not  develop  properly  if  mixed  and  al- 
lowed to  remain  for  several  hours.  It  may  some- 
times require  a  small  quantity  of  alcohol  to  cause 
the  solution  to  flow  evenly  over  the  plate.  But  the 
■addition  of  flic  alcohol  lessens  the  intensity  of  the 
picture,  therefore  it  is  best  to  avoid  its  introduction 

8* 


90  EK'DRVELOPING    TROCKSS. 

as  much  as  possible.   Indeed,  its  use  lias  been  aban- 
doned by  good  operators. 

By  increasing  the  quantity  of  iron,  the  develop- 
ing process  proceeds  more  i-apidly,  and  by  lessen- 
ing the  quantity  of  acetic  acid  it  is  modified. 

In  order,  therefore,  to  ascertain  the  requisite 
quantity  of  each  ingredient  that  may  be  necessary 
for  the  particular  combinations  of  collodions  and 
baths,  it  will  be  proper  to  vary  the  projDortions  of 
iron  and  acetic  acid.  By  a  few  changes  in  the 
proportions,  and  a  few  trials,  nearly  all  varieties  of 
collodion  may  be  made  to  produce  a  good  negative, 
if  the  bath  is  of  the  requisite  strength  and  all  other 
due  proportions  are  observed. 

There  will,  however,  be  found  another  formula 
for  re  developing  negatives  on  page  91,  which  is 
given  in  addition  to  the  foregoing  mainly  with  a 
view  to  enable  any  person  to  obtain  an  intense 
negative,  even  if  theii'  chemicals  are  not  properly 
combined. 


RE-DEVELOPING  PROCESS. 

Frequently  the  negatives,  after  being  developed 
by  the  foregoing  solutions,  will  not  assume  that 
degree  of  intensity  that  is  desired.     They  may  still 


KE-DEVELOPING    PROCESS.  91 

be  made  more  intense  by  continning  the  process 
of  developing  in  the  following  manner  : 
Prepare  two  solutions  as  follows,  viz.  : 

No.  1.     "Water 8  ouuces. 

Protosulphite  of  iron      .         .       2  ounces. 

Dissolve  the  iron  and  filter. 

The  second  solution  is  as  follows  : 

No.  2.     Nitrate  of  silver     .         .         .       ^  ounce. 
Water    .....       8  ounces. 

The  re-developing  is  attended  with  some  diffi- 
culty, as  there  is  great  danger  in  producing  lines 
or  streaks  on  the  negative. 

The  following  cautions  must  be  observed  : — Af- 
ter the  first  process  of  developing,  wash  carefully 
with  a  large  quantity  of  water,  still  keeping  the 
plate  in  the  dark  room  upon  the  levelling-stand,  or 
in  the  hand,  and  pour  over  its  snrface  enough  of 
the  solution  No.  1  to  nearly  cover  it ;  then  quickly 
pour  enough  of  No.  2  to  mix  with  it  npon  the 
plate,  which  must  have  a  little  motion  in  order  to 
flow  over  the  whole  j)late  as  quickly  as  possible.  It 
will  be  seen  that  no  perceptible  action  takes  place 
on  the  application  of  the  iron  solution ;  but  as  soon 
as  the  silver  is  added,  a  quick  and  energetic  action 
commences,  and  the  intensity  is  increased  to  any 


92  BICTILORIDK    OF    MKRCURY. 

desired  depth.  Great  care  must  be  observed  not 
to  continue  this  process  too  far,  as  the  negative  will 
become  too  intense,  and  full  of  lines  and  streaks. 
As  soon  as  sufficient  intensity  is  produced,  wash 
quickly  with  water  all  traces  of  the  developer. 

BICHLORIDE   OF  MERCURY  AS   A  RE- 
DEVELOPER. 

Make  a  saturated  solution  of  bichloride  of  mer- 
cury, and  always  have  it  in  readiness  in  a  glass- 
stoppered  bottle. 

This  can  be  used  with  great  success  in  copying 
Daguerreotypes  or  Ambrotypes  into  negatives. 
The  solution  must  be  reduced  considerably  from 
the  full  strength  of  the  saturated  solution,  but  only 
the  quantity  required  for  use.  The  exact  amount 
of  dilution  will  depend  upon  the  strength  of  the 
negative  after  it  is  developed  by  the  protosnlphite 
of  iron  developer.  The  plate  is  first  developed  in 
the  usual  manner  as  soon  as  it  is  removed  from  the 
camei'a,  then  carefully  washed,  and,  before  the 
light  has  fallen  ujxjn  it,  a  weak  solution  of  the  bi- 
chloride of  mercury  is  poured  quickly  over  it.  It 
will  assume  a  deeper  intensity  immediately ;  and 
when  sufficiently  so,  it  is  to  be  washed  and  fixed 
in  the  hyposulphite  in  the  usual  manner.     All 


FIXING    SOLUTION.  93 

negatives,  rendered  intense  by  the  application  of 
bichloride  of  mercury,  will  assume  a  deep  bluish- 
black  color,  which  can  be  modified  by  changing 
the  strength  of  this  re-developing  agent. 

FIXING  SOLUTION". 

This  is  always  a  saturated  solution  of  hyposul- 
phite of  soda. 

The  plate  is  to  be  thoroughly  washed  with  water 
after  developing,  and  laid  carefully  in  a  flat  dish 
containing  the  hyposulphite  of  soda  ;  and  as  soon 
as  the  iodide  of  silver  is  dissolved  from  the  sur- 
face, which  may  be  known  by  its  becoming  clear 
from  that  milky  appearance,  it  must  then  be  im- 
mediately washed  entirely  free  from  the  least  traces 
of  soda. 

Then  dried — or  it  may  be  varnished  before 
drying,  with  a  solution  of  gum-arabic,  of  the  con- 
sistency of  collodion  which  has  been  strained.  Of 
course,  the  gum-arabic  is  to  be  poured  over  the 
surface  in  the  same  manner  as  collodion. 

TONING  BATHS. 

The  most  useful  and  practical  toning  bath  for 
paper,  prepared  with  the  ammonia  nitrate  of  silver 
solution,  is  composed  as  follows : 


94  TONING   BATHS. 

"Water 1  quart. 

Nitrate  of  silver         ....       60  grains. 
Chloride  of  gold  ....       60  grains. 

Or  four  bottles  of  the  ordinary  chloride  of  gold. 
Hyposulphite  of  soda  .         .         .         2  ounces. 

In  preparing  the  foregoing  bath,  the  following 
method  should  be  adopted  to  insure  the  most  com- 
plete success. 

Dissolve  the  hyposulphite  of  soda  in  about  four 
or  six  ounces  of  the  water  taken  from  the  quart,_ 
and  the  chloride  of  gold  in  about  four  ounces  ot 
water,  in  separate  bottles.  Convert  the  60  grains 
of  nitrate  of  silver  into  the  chloride  of  silver,  by 
dissolving  it  first  in  three  or  four  ounces  of  water, 
to  which  add  60  grains  of  common  salt.  Wash 
the  precipitate  in  water  three  or  four  times,  then 
pour  off  all  the  water,  leaving  the  M^hite  precipitate, 
which  is  the  pure  chloride  of  silver.  Now  pour 
this  solution  of  chloride  of  silver  and  hyposulphite 
into  the  remaining  portion  of  the  water,  and  add 
the  chloride  of  gold  in  solution  to  it.  It  will  as- 
sume at  first  a  wine  color,  and  may  appear  of  a 
darker  hue  in  a  few  moments.  It  is  now  ready  to 
receive  the  printed  picture  from  the  printing 
frame,  or  it  may  be  first  immersed  in  salt  and 
water,  as  described  on  page  64:. 

This  toning  bath  is  intended  only  for  paper  salted 


AMMONIA    NITRATE   OF   SILVER    SOLUTION.  95 

in  the  manner  described  on  page  57,  and  silvered 
with  tlie  ammonia  nitrate  of  silver  solution,  as  de- 
scribed below.  When  not  in  use,  it  shonld  be 
kept  from  the  light  in  a  glass-stoppered  bottle. 
This  bath,  when  once  prepared  in  the  foregoing 
manner,  will  improve  by  age  and  use,  for  the  im- 
mersion of  every  print  tends  to  increase  the  quan- 
tity of  chloride  of  silver.  A  bottle  of  chloride  ot 
gold  must  be  added  occasionally,  dissolved  in  six 
or  eight  ounces  of  water. 

PREPARATION"  OF  THE  AMMONIA  NITRATE  OF 
SILVER  SOLUTION". 

Nitrate  of  silver 2  ounces. 

Distilled  water 1  pint. 

Dissolve  the  silver  in  the  pint  of  water,  and  pour 
out  about  two  ounces  into  a  separate  bottle  for 
future  use. 

Now  add  of  strong  concentrated  aqua  ammonia, 
a  few  droj)S  at  a  time,  to  the  fourteen  ounces  solu- 
tion of  silver  and  water.  A  dark  brown  precipi- 
tate is  formed  at  first,  which  must  be  stirred  with 
a  glass  rod,  or,  if  in  a  bottle,  it  may  be  shaken. 
Continue  to  add  more  of  the  aqua  ammonia,  and 
stir  tlie  solution  until  it  remains  perfectly  clear. 
Then  add  the  two  ounces  which  were  reserved  for 


96  AMMONIA    NITRATE    OF   SILVER   SOLUTION. 

use,  as  referred  to  above.  This  will  cause  the 
solution  to  be  slightly  turbid,  which  can  be  filtered 
perfectly  clear,  and  it  is  then  ready  for  use.  This 
preparation  must  be  kept  entirely  excluded  from 
the  light  of  day. 

This  solution  must  be  filtered,  and  only  in  sufli- 
cient  quantity  for  immediate  use. 

A  more  sensitive  preparation  may  be  made  by 
adding  to  the  above  about  six  drops  of  nitric  acid. 


CHAPTER  VI. 

DETAILS     OF    THE    VARIOUS     RECIPES    IN    THE    PHOTO- 
GRAPHIC   PROCESS QUICK    METHOD    OF    SILVERING 

AND    PRINTING   PAPER BEST    METHOD    OF    SALTING 

PAPER TEST  FOR  GOOD  COLLODION   OR  GUN-COTTON 

VARNISH  FOR  POSITIVES  ON  PAPER INSTAN- 
TANEOUS PRINTING  PROCESS NEW  METHOD  OF  VAR- 
NISHING     POSITIVES TO     RESTORE     PRINTS     THAT 

HAVE    CHANGED    COLOR CLEANING    GLASS     PLATES 

TO    VARNISH    NEGATIVES DEXTRINE    PASTE    FOR 

MOUNTING  PHOTOGRAPHS GUM-ARABIC  AND  GELA- 
TINE  TO    RESTORE    SILVER    FROM  OLD  SOLUTIONS 

TO      REMOVE    WATER     FROM     COLLODION,      AND    TO 

PURIFY    IT TEST   OF    HYPOSULPHITE   OF   SILVER   IN 

POSITFt'E  PRINTS PRINTING  VARIOUS  BACKGROUNDS. 

This  chapter  will  be  devoted  to  the  variety  of 
practice  in  the  Photographic  Art.  Many  recipes 
will  be  given  of  tlie  various  forms  of  operating. 
Many  will  be  found  useful,  and  it  is  trusted  that 
none  will  omit  to  note  down  the  variety  here  be- 

9 


98  A    QUICK   METHOD    OF   SILVERING    PAPER. 

cause  they  number  so  many.     These  must  neees 
sarily  be  given  promiscuously,  from  the  fact  that 
no  process  here  written  has  any  peculiar  relation 
to  another. 

AN  EXPEDITIOUS  METHOD  OF  SILVERING  PAPER 
AND  PRINTING  THE  SAME. 

Employ  the  ammonia  nitrate  of  silver,  the  usual 
strength,  and  fasten  the  paper  already  salted  upon 
a  flat  piece  of  board,  by  means  of  a  pin  or  small 
nail,  at  each  corner.  Then,  with  a  ball  of  clean 
cotton  dijjped  in  a  solution  of  silver  jnst  filtered, 
and  placed  in  an  open  flat  dish,  carefully  rub  the 
paper  in  all  directions.  Then  dry  it  quickly  by  a 
fire  in  the  usual  daylight.  As  soon  as  it  is  dry, 
place  it  immediately  in  the  printing  frame,  and 
expose  to  the  sun's  rays.  This  will  insure  a  picture 
with  very  little  delay ;  and  if  proper  care  has  been 
observed  in  the  operation,  very  excellent  results 
may  be  obtained.  Many  successful  artists  have 
adopted  the  foregoing  process  with  marked  success. 

THE  BEST  ilETHOD  OF  SALTING  PHOTOGRAPHIC 

PAPER. 

Always  use  the  hydrochlorate  of  ammonia  (sal 
ammoniac)  in  salting  paper,  and  never  over  90 


TEST  FOK   GOOD   COLLODION   OR   GUN-COTTON.      99 

grains  to  the  quart  of  water.  A  larger  quantity 
impairs  the  tone. 

This  j)reparation  of  sodium  lias  been  found  to 
produce  the  best  results,  from  the  fact  that  it  is  in 
a  purer  state  than  any  other  known  forms  of  salt. 
Hence  it  should  take  the  preference  of  all  others 
in  the  salting  process. 

The  addition  of  gelatine  to  the  salting  solution 
is  strongly  recommended,  say  about  one  grain  to 
every  ounce  of  water.  The  gelatine  should  be  of 
the  purest  quality,  and  it  should  first  be  dissolved 
in  warm  water,  and  added  to  the  salting  soUition, 
which  itself  must  be  warmed  if  in  the  winter 
season. 

Always  filter  the  salting  solution,  so  as  to  avoid 
any  spots  of  dust  or  foreign  substances  that  may 
collect  in  the  dish. 

TEST  FOR  GOOD  COLLODIOI^  OR  GUN-COTTON. 
There  is  a  sure  test,  and  one  that  it  is  well  to 
remember  and  apply,  in  making  collodion.  After 
the  gun-cotton  is  well  dissolved  in  the  ether  and 
alcohol,  and  of  the  requisite  thickness,  pour  a 
small  quantity  of  the  plain  collodion  on  a  piece  oi 
glass,  allowing  it  to  drain  off  in  the  same  manner 
as  in  coating  the  plate  with  sensitized  collodion. 


100         VARNISH   FOR   POSITIVE   PHOTOGRAPHS. 

If  the  glass  appears  perfectly  clear  and  transparent 
after  it  is  dried  and  held  up  to  transmitted  liglit, 
it  may  be  used  for  working  collodion  ;  but  if  there 
should  appear  any  milkiness  or  opacity  on  the  sur- 
face of  the  glass,  there  is  a  fault  of  the  gun-cotton 
or  the  alcohol  or  ether.  Unless  a  perfect,  clear, 
and  transparent  film  is  obtained,  the  collodion, 
when  properly  sensitized,  will  not  furnish  good  re- 
sults. The  addition  of  a  small  quantity  of  alcohol 
will  sometimes  remedy  the  defect. 

YARNISH  FOR  POSITIVE  PHOTOGRAPHS   ON 

PAPER. 

The  best  varnish  for  paper  pictures  is  undoubt 
edly  gum-arabic  and  gelatine. 

The  gum-arabic  must  be  allowed  to  dissolve 
thoroughly,  then  with  warm  water  dissolve  the 
gelatine,  using  only  a  small  quantity.  The  propor- 
tions are  as  follows : 

Gum-arabic  dissolved,  and  about  the  con- 
sistency of  collodion    ....      1  ounce. 
Gelatine 2  drachms. 

Dissolve  and  filter  through  a  cloth  every  time 
before  using.  To  be  laid  on  with  a  flat  brush 
made  of  hogs'  bristles. 


INSTANTANEOUS   PRINTING   PEOCESS.  101 


INSTAJTTAXEOUS  PRIJ^TIKG  PROCESS. 

In  dark,  cloudy  weather,  or  in  winter,  it  is 
sometimes  desirable  to  print  positives,  and  the  fol- 
lowing method  will  be  found  to  be  useful,  as  pic- 
tures can  be  produced  in  the  least  portion  of  day- 
light. It  is  as  follows  : — Float  the  papers  each  for 
five  minutes  in  a  solution  of  bichloride  of  mercury, 
prepared  as  follows  : 

Saturated  solution  of  bichloride  of  mercury    6  drachms. 
"Water 1  pint. 

Silver  it  in  a  j^lain  silver  solution,  40  grains  to 
the  ounce  of  water.  But  it  must  be  so  done  in  a 
dark  room,  and  the  lamp  carefull}^  screened  by 
means  of  a  yellow  glass.  Expose  only  for  about 
two  to  ten  seconds  in  summer,  and  .not  more  than 
a  minute  ^n  winter,  and  then  in  a  very  subdued 
light.  Of  course  the  paper  must  be  jjlaced  in  the 
printing  frame  in  a  darkened  room,  and  the  frame 
itself  carefully  excluded  from  the  light  during  the 
operation,  except  the  time  required  to  make  the 
impression.  Remove  the  picture  still  in  the  dark 
room,  when  it  will  appear  very  feeble,  but  it  is 
seen  to  be  developed  by  means  of  a  solution  of 
sulphate  of  iron,  as  follows  : 

9* 


102  TO   EESTOEE   FEINTS. 

Sulphate  of  iron  .         .    "    . 

"Water 1  pint. 

Glacial  acetic  acid        .        .        .        .      ^  ounce. 

Develop  until  the  picture  is  of  the  required 
depth  of  color,  then  wash,  and  immediately  fix  with 
hyposulphite  of  soda ;  and  finally,  carefully  wash, 
as  in  the  ordinary  process. 

NEW  METHOD    OF  VARNISHING   POSITIVE   PHO- 
TOGRAPHS ON  PAPER. 

Dissolve  by  a  slow  heat  two  ounces  of  white 
wax  and  add  two  ounces  of  common  Venice  tur- 
pentine, and  stir  the  mixture  well.  This,  when 
cool,  will  be  of  the  consistency  of  paste.  After 
the  Photographs  are  dried,  spread  this  paste  even- 
ly over  the  surface  with  a  brush,  and  rub  it  with 
a  piece  of  woollen  flannel ;  hang  it  up  to  dry  in  a 
warm  room  for  six  or  twelve  hours.  The  smell  of 
the  turpentine  soon  leaves  the  print,  an<!l  when  dry 
it  may  be  rubbed  hard  with  dry  flannel  until  a 
fine  polish  is  obtained.  This  process  of  varnish- 
ing Photographs  not  only  greatly  improves  them, 
but  also  preserves  them  from  liability  to  fade. 

TO  RESTORE   PRINTS   THAT  HAVE   CHANGED 

COLOR. 

Wash  the  print  well,  and  immerse  it  in  a  solu- 
tion prepared  as  follows  : 


CLEANING  GLASS  PLATES.  103 

Water 1  quart. 

Saturated  solution  of  the  bichloride  of)  on  dron- 
mercury  ia  muriatic  acid  .        .        . } 

Remove  tlie  picture  as  soon  as  the  desired  pur- 
ple tone  is  attained,  then  carefully  wash  it  in  sev- 
eral waters,  and  dry.  Prints  that  are  greatly 
faded  may  be  restored  by  this  process  equal  to 
new. 

CLEANING  GLASS  PLATES. 

Some  operators  experience  much  difficulty  in 
cleaning  the  glass  plates  for  negatives.  It  is  a 
matter  which  to  some  is  no  difficulty,  and  there- 
fore not  much  attention  is  paid  to  it  by  those  who 
work  successfully.  In  order  to  feel  perfectly  sure 
that  the  plates  are  cleaned,  they  may  be  first  im- 
mersed in  a  solution  composed  as  follows  : 

Water       ....         1  pint. 

Cyanide  of  potassium        .        ^  ounce  or  120  grains. 

Carbonate  of  potassium     .    240  grains. 

By  placing  all  new  glasses  in  this  solution  for  a 
few  minutes  all  traces  of  grease  or  fatty  substances 
are  removed.  They  can  then  be  washed,  dried, 
and  cleaned  with  alcohol  in  the  usual  manner. 
Glasses  that  have  been  used  may  be  more  readily 
cleaned  by  first  laying  them  in  water  in  order  to 
remove  the  collodion.      Then  immerse   them   in 


104  GUM-AKABIC    AND   GELATINE. 

the   foregoing  solution,  wash,  diy,  and  clean  as 
usual. 

TO  VAENISH  NEGATIVES. 

ISTegatives  may  be  varnished  with  the  common 
white  negative  varnish,  or  the  diamond  varnish, 
sold  by  all  the  dealers  in  photographic  materials. 

t 

DEXTEINE   PASTE   FOR   MOUNTING   PHOTO- 
GRAPHS. 

The  article  known  as  dextrine  is  the  best  in  use 

for  pasting  Photographs  on  card-board,  from  the 

fact  that  it  is  not  so  liable  to  cause  them  to  fade. 

It  is  made  simply  by  mixing  a  sufficient  quantity 

of  ground  dextrine  in  hot  water  to  render  it  of  the 

consistency  of  ordinary  paste.     Then  apply  with  a 

brush. 

GUM-ARABIO  AND  GELxlTINE. 

Gnm-arabic 8  ounces. 

Gelatine }  ounce. 

Mix  and  dissolve  in  hot  water,  and  strain  through 
a  cloth  before  using.  .  This  is  useful  for  varnisliing 
the  Photograph  after  it  is  pasted  on  the  card-board. 

By  the  addition  of  a  little  sugar  to  the  above,  a 
paste  is  formed  which  may  be  used  for  pasting  the 
Photographs  on  the  card-board  instead  of  the  dex- 
trine. 


TO   KESTOKE   SILVER   FROM   OLD   SOLUTIONS.     105 

TO   SEPARATE   SILVER   FROM    OLD    COLLODION 
SILVER  BATHS, 

FROM   THE     NITRATE     OF    SILVER    SOLUTION,    USED    IN    PRE- 
PARING    POSITIVE    PAPER,    AND    FROM    THE    WATER 
THAT    HAS    BEEN    USED    TO  WASH    THE    PRINTS 
BEFORE  THE  IMMERSION  IN    THE  CHLO- 
RIDE   OF    GOLD,  ETC. 

To  the  liquid  containing  the  silver  add  a  solu- 
tion of  common  salt,  until  no  milkiness  is  percep- 
tible. This  will  precipitate  the  silver  in  the  state 
of  a  chloride. 

After  shaking  well,  allow  this  chloride  of  silver 
to  settle,  when  the  liquid  should  be  poured  away, 
and  the  precipitate  washed  several  times  in  clean 
water.  Tlie  larger  part  of  the  water  should  now 
be  poured  off,  and  a  piece  of  clean  zinc  put  into 
the  bottle,  to  which  add  a  few  drachms  of  sulphu- 
ric acid.  The  mixture  will  immediately  effervesce. 
The  zinc  is  dissolved  in  a  short  time,  and  the  chlo- 
ride of  silver  will  be  transformed  into  metallic 
silver,  in  the  state  of  a  black  powder. 

There  should  be  an  excess  of  zinc  in  the  liquid, 
in  order  to  effect  the  transformation  of  all  the  chlo- 
ride of  silver  into  metallic  silver.  This  change  of 
the  chloride  to  the  metallic  state,  commences  first 
with  that  which  is  in  contact  with  the  zinc,  which 


106        TO    REMOVE   WATER   FROM   COLLODIONS. 

becomes  immediatelv  black.  It  must  now  stand 
without  sliaking,  until  all  the  chloride  of  silver  has 
become  nnifornily  black,  when  the  remaining  zinc 
should  be  taken  out,  the  liquid  poured  off,  and  the 
silver  washed  two  or  three  times  with  water  acid- 
ulated with  sulphuric  acid,  and  finally  with  clean 
water. 

The  silver  can  be  separated  from  the  water  by 
filtering  through  paper,  and  is  pure.  It  can  be 
used  to  prepare  nitrate  of  silver. 

TO  EEMOYE  WATER  FROM  COLLODIOIfS,  AND  TO 
PURIFY  OLD  COLLODIONS. 

A  very  simple  method  of  removing  water  which 
may  be  found  in  collodion,  is  to  add  a  quantity  of 
common  saleratus  well  dried — shake  it  well  and 
allow  it  to  settle  :  it  \\\\\  not  only  remove  the  wa- 
ter, but  greatly  improve  the  quality  of  the  collo- 
dion. Man}-  old  collodions  may  be  ti'eated  in  this 
manner,  and  greatly  benefited. 

The  quantity  of  saleratus  necessary  to  add  to 
the  collodion  is  not  material — an  excess  will  do 
no  harm  ;  but  it  is  recommended  to  pour  oft'  from 
the  sediment  of  saleratus  into  another  bottle,  to 
allow  it  to  become  clear  for  use. 

The  addition  of  albumen,  or  the  white  of  an  egg^ 


PEmTING    BACKGROUNDS   OF   VARIOUS   SHADES     107 

to  a  quantity  of  collodion,  and  allowed  to  settle, 
is  also  of  great  benefit  to  it,  especially  if  it  has  a 
tendency  to  remain  thick  and  turbid. 

CHLOROFOEM  IN  COLLODION. 

A  few  drops  of  chloroform  may  be  added  with 
advantage  to  collodion  when  it  appears  weak  on 
the  glass  plate,  and  inclines  to  break  on  the  appli- 
cation of  water  in  washing  off  the  developer. 

TO  KNOW  IF  ALL  THE  HYPOSULPHITE  OF  SILVER 
IS  REMOVED  FROM  THE  PRINTS  BY  WASHING. 

When  the  prints  are  supposed  to  be  well  washed 
and  hung  up  to  dry,  allow  a  few  drops  of  the  wa- 
ter from  them  to  fall  into  a  solution  of  bichloride 
of  mercury.  If  a  white  precipitate  is  formed,  the 
print  is  not  well  and  sufficiently  washed.  It  will 
in  process  of  time  fade  or  change  color.  They 
should  be  washed  again  until  no  precipitate  is  seen. 

PRINTING  BACKGROUNDS  OF  VARIOUS  SHADES. 

Any  negative  with  a  dark  background  may  be 
printed  with  a  light  one,  or  vice  versa  /  or  if  an 
imperfection  happens  to  occur  on  the  background, 
it  may  be  entirely  removed  by  the  printing  pro- 
cess, as  follows : 

First  print  an  impression,  and  without  toning  it, 


108    FEINTING    BACKGKOUNDS    OF  VARIOUS    SHADES. 

remove  it  from  the  printing  frame,  and  cut  out  the 
figure  of  the  head  and  bod_y  with  a  knife  or  small 
scissors  ;  in  fact,  leaving  entirely  the  background 
separate  from  the  portrait.  Fasten  this  background 
of  paper  so  cut  out  around  the  edges,  by  means  of 
gum-arabic,  upon  the  negative,  and  print  only  the 
portrait,  on  another  paper  of  course,  leaving  the 
background  perfectly  white.  Now  remove  this 
print,  and  cover  the  portrait  so  printed  with  the 
piece  of  paper  which  was  cut  out  of  the  first  print. 
This  will  now  become  blackened  by  the  action  of 
light,  and  it  must  be  attached  to  the  second  print 
only  at  the  bottom  by  gum-arabic.  Place  it  in 
the  printing  frame,  which  contains  a  clean  glass, 
and  expose  the  background  only  to  the  action  of 
light.  Of  course  any  degree  of  shade  of  back- 
ground may  be  attained,  and  gradations  of  the 
light  or  dark  portions  can  be  also  given  by  hold- 
ing a  cloth  or  piece  of  card-board  over  such  por- 
tion as  may  be  desired  of  a  light  color.  The  card- 
board should  be  slightly  agitated  to  prevent  any 
sharp  lines  on  the  print. 

Figures  of  various  kinds  can  be  represented  on 
the  background  by  means  of  lace-work,  or  any- 
open  work  laid  over  the  background  in  the  second 
process. 


PRINTING   FRAMES.       •  109 

In  printing  these  extra  backgrounds,  there  will  • 
necessarily  be  a  sharp  outline  around  the  edge  of 
the  hair  and  draper}^,  which  can  be  removed  by 
retouching  with   India   inlj,  after  the   picture  is 

mounted. 

PRINimG  FRAMES. 

There  are  numerous  methods  and  apparatus  in 
use  for  holding  the  negative  and  paper  during  the 
printing  process.  The  common  printing  board  is 
perhaps  the  most  useful.  They  can  be  bought  at 
any  of  the  dealers  in  photographic  materials. 

Another  kind  called  pressure  frames  are  rather 
more  expensive,  but  jDOssess  the  advantage  over 
the  common  printing  board  of  giving  the  operator 
an  opportunity  to  inspect  both  ends  of  his  picture 
during  the  printing  process.  Every  operator  should 
possess  more  than  one  of  these  printing  frames,  as 
tlie  saving  of  time  will  amply  repay  him  if  he  has 
many  prints  to  make. 

Another  cheap,  convenient,  and  equally  good 
arrangement  for  holding  the  negative  and  paper, 
is  to  take  three  glasses — say  one  a  full  size,  being 
the  one  having  the  negative  upon  it;  and  then 
take  two  glasses,  each  just  half  the  size  of  the 
negative,  and  have  a  piece  of  very  thick  heavy 
cloth,  cut  the  size  of  the  negative  glass,  which  can 

10 


110  PRINTING   FRAMES. 


• 


be  put  between  it  and  the  two  half  glasses,  and 
then  they  can  be  held  together  by  means  of  the 
common  spring  clothes-pin.  The  advantage  of  the 
two  glasses  at  the  back  is,  that  one  can  be  entirely 
removed  while  the  picture  is  being  examined,  and 
afterwards  returned  without  in  the  least  moving 
the  impression. 


CHAPTER  VII. 

HINTS  AND  SUGGESTIONS  IN  REGAED  TO  THE  NEGATIVE 

PROCESS IMPERFECTIONS   PECULIAR   TO    NEGATIVES 

HOW  TO  AVOID  THEM CAUTIONS  IN  TAKING  NEG- 
ATIVES  HINTS    AND    SUGGESTIONS    IN    REGARD    TO 

PRINTING  POSITIVES  ON  PAPER — CAUTIONS  IN  RE- 
GARD TO  THEM IMPERFECTIONS  FOUND  IN  POSI- 
TIVES— HOW  TO  AVOID  THEM. 

The  art  is  so  full  of  details  in  the  manipulations, 
that  it  "is  deemed  proper  to  embody  in  a  chapter 
many  hints  and  suggestions  that  are  very  necessary 
to  be  well  studied  by  those  who  adopt  the  line  of 
practice  laid  down  in  this  work.  In  thaf  portion 
of  this  Manual  devoted  to  the  Ambrotype,  will  be 
found  a  chapter  devoted  to  the  failures,  &c. ;  also 
containing  many  valuable  hints  in  regard  to  posi- 
tives on  glass — all  of  which  are  valuable  as  a  ref- 
erence in  the  negative  process. 


112  EETOUCHJJSTG   NEGATIVES. 

HIXTS   AKD   SUGGESTIONS  IN  EEGAED   TO 
NEGATIVES. 

The  addition  of  a  small  quantity  of  white  sugar, 
dissolved  in  water,  to  the  nitrate  bath,  will  some- 
times increase  the  intensity  of  the  negative.  The 
addition  of  an  ounce  of  alcohol  for  every  quart  of 
water  in  the  bath,  will  also  increase  the  intensity. 

When  the  collodion  will  not  adhere  to  the  plate 
on  removal  from  the  bath,  add  a  few  dro]3s  of 
water  to  a  sample  of  collodion,  and  it  will  gener- 
ally remedy  the  defect.  If  the  defect  is  removed 
in  a  small  quantity,  add  water  to  the  whole. 

EETOUCHING    NEGATIVES    FOR  PHOTOGRAPHIC 

VIEWS. 
In  photograph  views,  the  sky  is  not  usually  very 
truthfidly  represented.  It  almost  always  appears 
too  dark  when  representing  a  thunder  tempest,  or 
when  the  landscape,  or  whatever  may  be  taken, 
betrays  a  shining  sun.  This  unnatural  effect  may 
be  overcome  in  the  following  manner  :■ — ^The  black 
varnish  which  is  used  for  Ambrotypes,  can  be  re- 
duced by  the  addition  of  spirits  of  turpentine,  and 
with  a  small  brush  spread  it  over  the  entire  sky. 
If  it  still  prints  too  dark,  give  it  another  coat ;  and 
if  a  white  is  desired,  the  negative  must  be  made 
entirely  opaque. 


ENGRAVING   THE   NAME    UPON    A   NEGATIVE.      113 

Beautiful  clouds  and  sunset  effects  may  be  intro- 
duced into  the  photographic  landscape,  and  at  the 
expense  of  very  little  time.  The  tempestuous 
storm,  the  dark  and  dismal  cloud,  with  the  vivid 
flash  of  lightning  dancing  upon  its  thundering  bo- 
som, the  rainbow  and  other  scenes  of  grandeur  and 
beauty,  may  be  represeiitt-d  in  the  photographic 
drawing. 

RETOUCHING  NEGATIVE  PHOTOGRAPHS. 

This  is  best  accomplished  with  India  ink,  and 
some  other  lighter  color  to  modify  it ;  the  black 
spots  may  be  retouched  to  their  proper  transpa- 
rency or  opacity.  Shadows,  if  too  deep  or  too 
feeble,  may  be  corrected ;  defects  in  the  eye  also, 
if  shaded  too  deep,  may  be  corrected  by  a  careful 
hand,  guided  by  the  use  of  a  small  camel's-hair 
pencil. 

ENGRAVING  THE   NAME   UPON  A  NEGATIVE. 

Any  name  may  be  engraved  upon  the  negative 
by  marking  it  carefully  with  a  pointed  instrument 
— such  as  a  needle  or  the  point  of  a  knife — before 
it  is  varnished.  When  printed,  this  will  appear 
very  distinct. 

10* 


114  IMPERFECTIONS    OF   NEGATIVES. 


IMPERFECTIONS   COMMOK  TO   NEGATIVES. 

Tlie  more  frequent  imperfections  are  those  termed 
fogging,  streaking,  and  spotting  of  the  negative 
plate. 

The  causes  are — over-ex^josure  in  the  camera^ 
over-develojying^  impure  chemicals^  cmd  light  gain- 
ing access  to  the  chemical-room^  camera^  or  plate- 
holder. 

The  over-exposure  in  the  camera  is  easily  obvia- 
ted by  lessening  the  time.  The  over-developing 
can  be  obviated  by  lessening  the  time  also,  and 
weakening  the  developer — changing  the  quantity 
of  acetic  acid. 

The  impurity  of  the  chemicals  in  the  collodion 
can  only  be  ascertained  by  having  a  sample  of 
collodion  known  positively  by  previous  experi- 
ment to  be  of  the  good  quality.  Make  a  trial  of 
this,  and  compare  results. 

Light  gaining  access  to  the  Chemical-room^ 
Plate-holder^  Camera,  &c.  —  After  coating  the 
plate  as  usual  in  the  dark  room,  hold  it  in  your 
hand  for  a  few  moments ;  then,  without  taking  it 
out  to  the  light,  pour  on  the  developer.  If  the 
plate  blackens,  white  light  gains  admission  to  your 
chemical-room.     Make  it  darker.     If  the  cause  is 

8 


SPECKS    UPON   THE   PLATE.  115 

not  here,  coat  another  plate,  put  it  in  the  plate- 
holder,  place  it  in  the  camera,  and,  without  taking 
the  cap  off  the  tube,  raise  the  slide,  and  expose 
the  plate  for  a  few  seconds  in  the  darkened  cham- 
ber of  the  camera — remove  it  to  the  dark  room, 
and  pour  on  the  developer  ;  if  it  blackens,  stop  the 
leaks  in  the  camera.  If  this  does  not  obviate  the 
trouble,  coat  another  plate,  put  it  into  the  plate- 
holder,  place  it  in  the  camera,  and,  without  rer 
moving  the  cap  or  raising  the  slide^  leave  it  a  few 
seconds  as  before ;  remove  to  the  chemical-room, 
pour  on  the  developer ;  if  it  blackens,  the  plate- 
holder  is  not  tight.  These  trials  wnll  generally  dis- 
close the  cause  of  fogging. 

Sometimes  the  cause  may  be  removed  by  adding 
acetic  acid  to  the  bath  when  all  other  means  fail. 
This  is  an  excellent  remedy  for  fogging  generally, 
and  will,  in  nine  cases  out  of  ten,  obviate  the  diffi- 
culty. 

Specks  upon  the  Plate. — These  may  occur  from 
•the  use  of  collodion  holding  small  particles  in  sus- 
j3ension,  or  from  too  much  acid  in  the  developer. 
Isever  use  a  sample  of  collodion  until  it  has  stood 
long  enough  to  settle  perfectly  clear.  All  new  col- 
lodions must  be  set  aside  w^iere  they  will  be  undis- 
turbed twenty-four  hours  before  using. 


116  SILVEKY   APPEARANCE   OF   NEGATIVES, 

Oily  Spots  or  Lines  ^q?  and  down  the  Plate. — 
These  occur  when  the  plate  is  taken  out  of  the  sil- 
ver bath,  before  the  ether  and  alcohol  have  been 
washed  away.  Marks  of  the  same  shape  occur, 
also,  when  the  developer  does  not  amalgamate 
readily  with  the  surface  of  the  film ;  in  which  case 
add  a  little  alcohol  tu  the  developer. 

SILVERY  APPEARANCE  OF  NEGATIVES. 

Negatives  sometimes  have  an  appearance  of  sil- 
ver under  the  collodion  after  developing,  which  is 
owing  mainly  to  the  imperfect  cleaning  of  the 
plate.  This  is  more  likely  to  occur  when  old  plates 
are  used.  To  avoid  this,  use  nitric  acid  diluted  and 
rotten-stone  in  the  next  cleaning.  Glass  which  is 
rusty  will  always  present  this  silvery  appearance. 
It  must  be  discarded. 

Transparent  Markings  of  various  Jvitids. — 
These  sometimes  resemble  fern-leaves,  and  other 
vegetable  forms :  add  a  few  drops  of  chloroform  to 
the  collodion.  Dark  spots  of  various  forms  may  be* 
caused  by  the  collodion  setting  too  Vm2^ — or  by 
pouring  on  the  developer  entirely  on  one  place — 
or  by  having  the  developer  too  strong.  Apply 
the  remedies  before  recommended. 


STRENGTH    OF    THE   NITRATE   BATH.  117 

THE  STEENGTH  OF  THE  NITKATE  BATH. 

The  last  and  highly  important  imi3erfection  is 
often  caused  by  the  want  of  silver  in  the  bath.  A 
weak  bath  is  indicated  by  certain  parts  of  the  plate 
having  the  appearance  of  transparency,  as  though 
no  collodion  was  upon  its  surface.  Test  the  bath 
with  the  hydrometer  to  ascertain  the  quantity  of 
silver,  and  add  enough  to  render  the  quantity 
equal  to  that  required  for  the  collodion,  to  be  used 
generally  60  grains  to  every  ounce  of  water. 

ifhere  are,  perhaps,  many  other  imperfections 
in  the  negative  process,  which,  were  they  fully 
enumerated  here,  would  tend  most  likely  to  mislead 
rather  than  give  information. 

It  is  hoped  that  the  practice  of  the  art,  as  laid 
down  in  tlie  pages  of  this  work,  will  not  cause  so 
many  failures  as  will  deter  the  persevering  student ; 
assured  that  although  the  process  is  fraught  with 
difficulties,  it  has  been  entirely  overcome  by  many 
successful  artists,  the  evidence  of  which  is  affo'-ded 
by  their  works. 

HINTS   AND  SUGGESTIONS  IN  PRINTING  POSI- 
TIVES  ON   PAPER— PHOTOGRAPHIC   PAPER. 

The  quality  of  paper  is  very  important,  and 
must  be  of  an  even  texture,  and  free  from  holes 


118  WASHING   POSITIVE  PKINTS. 

and  spots  when  held  up  to  transmitted  light.  One 
side  must  have  a  satin  appearance  when  viewed  at 
an  angle  across  the  surface. 

There  is  one  side  only  of  good  j^hotographic 
paper  which  will  receive  the  best  impression,  and 
that  may  be  known  by  examining  it  carefully.  The 
one  side  will  appear  to  have  lines  crossing,  each 
resembling  fibres  in  woven  cloth.  The  opposite 
side  will  appear  to  show  like  satin,  which  is  the 
one  to  receive  the  silver. 

Avoid  dust  in  the  room  where  the  paper  is  ^1- 
vered  and  hung  up  to  dry.  Especially  be  careful 
to  exclude  it  from  the  silvering  solutions  by  fre- 
quent filtering. 

WASHING  POSITIVE  PKINTS. 

In  washing  positive  prints  great  care  must  be 
observed  that  the  dishes  used  are  free  from  any 
foreign  substance,-  as  that  would  invariably  cause 
spots  or  stains.  The  dishes  mostly  in  use  are 
gutta-percha  or  vulcanized  india-rubber.  With 
large  prints,  wooden  dishes  may  be  used  if  they 
are  well  varnished  with  gum  shellac  varnish,  as 
described  on  page  191.  The  use  of  warm  water  to 
finish  the  washing  is  highly  recommended,  as  in 


KETOUCHING  PHOTOGRAPHS.         119 

that  state  the  hyposulphite  of  silver  is  much  more 
soluble. 

The  value  of  the  use  of  the  chloride  of  gold  in 
the  toning  bath  has  never  been  sufficiently  esti- 
mated. It  adds  to  the  tone  all  the  beauty  so  much 
desired.  An  increase  of  the  quantity  in  the  to- 
ning bath  will  frequently  overcome  the  many  dis- 
agreeable colors  which  are  so  often  found  in  prints 
after  washing.  Its  use  in  the  finish  of  the  Da- 
guerreo#)q3e  was  considered  indispensable.  Those 
wdio  seek  for  the  most  beautiful  Photographs  must 
use  large  quantities  of  this  metallic  salt. 

EETOUCniNG  PHOTOGRAPHS. 

All  Photographs,  when  mounted,  can  be  Im- 
proved by  slightly  retouching  them  with  a  small 
camel's-hair  brush  dipped  in  india-ink.  Especially 
the  eyes,  lips,  &c.,  which  frequently  will  not  print 
clear  and  distinct.  The  ink  can  be  ground  on  a 
piece  of  glass,  using  only  a  small  quantity  at  a 
time.  By  mixing  a  small  portion  of  carmine  witli 
the  india-ink,  any  shade  may  be  produced  to  cor- 
respond with  the  color  of  the  print,  and  all  the 
white  spots  that  so  frequently  appear  on  the  back- 
ground and  drapery  can  be  removed.  A  slight 
touching  of  the  ink  on  the  shadows  of  the  nostrils 


120  IMPERFECTIONS    IN   POSITIVES. 

and  lips  will  add  greatly  to  the  beauty  of  the  Pho- 
tograph. 

Should  any  black  spots  require  removal,  use 
white  water-color  paint  mixed  with  india-ink.  This 
retouching  will  require  only  a  short  time,  and  must 
be  done  before  varnishing. 

IMPEKFEOTIONS  FOUND  IN  POSITIVES  ON 
PAPER. 

If  the  print  has  a  faded  and  yellow  appearance, 
the  hyposulphite  is  acid,  or  too  old  and  weak ;  or 
the  print  has  been  left  in  it  too  long  a  time,  or  has 
been  washed  too  slowly.  Add  more  chloride  of 
gold ;  if  acid  (which  may  be  known  by  testing 
with  litmus  paper),  add  a  few  drops  of  aqua  am- 
monia. 

If  not  sufficient  contrast  exists  between  the  lights 
and  shadows,  the  print  being  pale,  and  without 
vigor,  then  the  nitrate  of  silver  solution  is  too  weak 
in  proportion  to  the  salt  solution.  Strengthen  the 
silver  solution. 

If  too  much  contrast  exists  between  the  lio-hts 
and  the  shadows,  and  the  details  are  not  marked  in 
the  latter,  then  increase  the  proportion  of  salt. 

If  pale  spots  appear,  then  thoie  has  teen  insuf- 
ficient absorption  of  the  xnt'*ate  of  silver  by  the 


IMPERFEUTIONS   IN    POSITIVES.  121 

paper ;  this  may  result  from  the  unequal  texture 
of  the  paper,  or  from  the  silver  being  too  weak. 

Black  spots  are  caused  by  dust  on  the  surface 
of  the  silver  solution,  oro;auic  matter  on  the  paper, 
or  metallic  particles  in  the  paper.  Be  careful  to 
avoid  them. 

If  the  prints  after  drying  have  a  mottled  appear- 
ance in  the  high  lights,  they  have  not  been  suffi- 
ciently toned.  The  j^rints  should  always  be  held 
up  and  examined  by  transmitted  light  before  re- 
moving them  from  the  toning  bath. 

If  the  bath  is  too  weak,  these  spots  cannot  be 
removed  except  by  adding  more  hyposuljDhite  and 
chloride  of  gold  to  the  bath. 

These  imperfections  noticed  as  found  in  posi- 
tive pictures  on  paper,  probably  do  not  include 
all,  but  those  which  are  most  likely  to  be  encoun- 
tered in  the  practice  of  the  art.  They  are  given 
as  material  for  refererce  during  the  practical  op- 
erations of  the  photographer,  and  should  be  often 
referred  to  in  his  leisure  moments. 

11 


THE 


AMBPtOTYPE  MANUAL. 

PAET    II. 


PRACTICAL  DETAILS 


OF   TUE 


AMBROTYPE    P  R  0  C  E  S  S. 


POSITIVE  PHOTOGRAPHS  ON  GLASS. 


CHAPTER  VIII. 

THE    CAMERA — PLATE-HOLDEES    NECESSARY  FOR    THE 

CAMERA PREPARING  THE  GLASSES PLATE  BLOCKS 

FOR   HOLDING  THE  GLASSES CLEANING  SUBSTANCES 

— CLEANING  THE  GLASSES CLEANING  DLD   GLASSES 

REMOVING  THE  TARNISH HOLDING  GLASSES  AFTER 

THEY  ARE  CLEANED GLASSES   TSED  A  NUaiBER   OF 

TIMES — QUALITY   OF   GLASSES    NECESSARY   FOR   AM- 
BR0TYPE3 

It  is  presumed  that  most  persons  in  whose  hands 
this  hook  may  fall,  or  at  least  those  who  see  it 
after  having  sought  it,  are  acquainted  with  the 
Dagjierreotype  process,  and  possess  a  camera,  and 
all  the  apparatus  necessary  for  Daguerreotypes. 
It  is  needless  to  add  to  those  who  have  had  any 
ex]DeriAice,  that  a  good  camera  is  indispensable, 
much  more  so  than  in  the  Daguerreian  process. 
"Without  this  necessary  auxiliary,  all  labor  will  be 
but  in  vain. 

An  entirely  new  plate-holder  for  the  camera  is 
requisite,  known  as  photographic  frames,  for  hold- 
ing the  glass.    It  is  made  in  such  a  manner  that 

11* 


126  PHOTOGRAPHIC   PLATE-HOLDERS. 

the  glass  plate  will  rest  on  each  corner  on  glass 
itself.  These  holders  are  absolutely  indispensable, 
because  all  attempts  to  use  the  old  Daguerreian 
plate-holders  will  invariably  produce  bad  results. 
These  plate-holders  can  be  obtained  of  any  of  the 
dealers  in  materials  for  the  art. 

The  glasses,  of  course,  have  sharp  edges,  which 
may  be  filed  off  with  a  coarse  file,  or  ground  on  a 
grindstone,  'to  avoid  cutting  the  fingers  in  hand- 
ling. The  wooden  vise,  which  has  been  so  often 
used  for  Peck's  patent  blocks,  will  answer  a  very 
good  pm^pose  for  holding  the  glasses  while  clean- 
ing them.  It  is  better  to  procure  two  such  vises 
— one  for  the  acid  and  rottenstone,  and  the  other 
for  the  alcohol. 

The  place  where  the  ends  of  the  glasses  rest 
may  be  slightly  raised,  so  that  in  passing  the  can- 
ton-flannel, or  buff,  over  the  glass,  it  shall  pass  en- 
tirely over  the  end  or  sides. 

The  plate  vise  may  be  dispensed  with,  and  a  flat 
pine  board  may  be  used,  covered  with  canton-flan- 
nel, of  a  size  longer  than  the  glasses  that  are  to  be 
cleaned.  On  the  edge  of  this  board  riiust  be  nailed 
a  narrow  piece  of  hard  wood,  raised  just  above  the 
edge,  but  not  so  high  as  the  thickness  of  the  glass 
to  be  cleaned.    Now,  by  pressing  the  glass  against 


CLEANING   THE   GLASS   PLATES.  127 

this  edge  with  a  small  stick  of  hard  wood,  or  the 
left  hand,  the  glasses  will  be  held,  and  readily 
cleaned  with  the  other. 

New  glasses  require  cleaning  first  only  with 
alcohol,  or  with  alcohol  and  rottenstone.  Common 
whiting  has  been  found  to  answer  the  purpose  even 
better  than  rottenstone.  They  are  to  be  nibbed 
with  canton-flannel,  or  tissue-j)aper,  and  then  dried 
with  the  same  substances.  The  plate  must  be 
nibbed  in  lines,  round  and  round,  and  on  both 
sides.  It  does  not  require  as  long  rubbing  as  the 
Daguen*eotype  plate.  After  which,  it  is  necessary 
to  buff  them  with  two  buffs,  like  a  ball  covered 
with  soft  buckskin.  This  ball  may  be  made  of 
cotton,  and  covered  with  buckskin,  wath  a  handle 
made  of  the  ends  of  the  skin,  drawn  over,  and  tied 
with  a  piece  of  twine.  The  first  ball,  or  tampon^ 
may  be  rubbed  with  rouge,  or  rouge  and  calcined 
lampblack-  The  second  is  to  be  kept  free  from 
all  polishing  substances.  Rub  first  with  the  rouge 
buff,  and  finish  quickly  with  the  dry  one.  By 
slightly  breathing  on  the  surface,  one  can  readily 
ascertain  if  the  plate  is  clean,  which  will  be  indi- 
cated by  a  uniform  condensation  of  the  moisture. 
Both  sides  of  the  glasses  should  be  rubbed ;  also 
the  edges  of  all  should  be  wiped  with  a  small 


128  BOXES   FOR   HOLDING    GLASSES. 

piece  of  canton-flannel,  before  using,  to  remove 
any  of  the  polishing  substances  which  might  ad- 
here to  the  glasses. 

Glasses  which  have  impressions  on  them,  and 
are  dried,  should  first  be  placed  in  a  flat  dish  con- 
taining water,  or  water  and  niti-ic  acid,  enough  to 
make  the  liquid  act  slightly  on  the  silver.  They 
are  then  to  be  rubbed  with  rottenstone,  or  whiting, 
mixed  with  water  and  nitric  acid — about  two 
drachms  of  acid  to  four  ounces  of  water.  They 
ai'e  then  to  be  thoroughly  washed  with  pure  water, 
and  allowed  to  stand  a  few  moments,  or  they  may 
be  immediately  wiped  dry  with  a  clean  towel. 
They  are  now  ready  for  the  alcohol  and  the  can- 
ton-flannel process,  which  is  effected  without  any 
application  of  rottenstone  or  whiting,  although 
a  small  quantity  of  either  may  be  used  with  the 
alcohol. 

After  the  plates  are  buffed,  they  may  be  placed 
on  their  edges  in  some  old  plate-boxes  which  have 
done  service  in  the  Daguerreian  art.  The  grooves 
can  be  cut  out  a  little  wider  than  those  for  plates, 
and  then  placed  on  the  shelves  near  the  bath,  or 
laid  on  the  edges  ready  for  coating. 

Old  pictures  which  have  been  fitted  up  with  the 
various  varnishes  require  more  care  in  cleaning. 


VAPORS  OF  CHEMICALS  AVOIDED.      129 

They  should  be  first  placed  in  a  strong  solution  ol 
spirits  of  turpentine  and  alcohol,  and  allowed  to 
remain  there  until  the  varnish  becomes  softened. 
Then  they  should  be  submitted  to  the  acid  and 
rottenstone,  and  finished  in  the  same  manner  as 
glasses  with  pictures  without  varnish.  It  is  well 
to  place  all  pictures  which  are  failures  in  water  as 
soon  as  possible,  rather  than  to  allow  them  to  dry 
with  the  collodion  on  them. 

The  towel  used  for  wiping  the  glasses  should 
be  used  only  for  that  purpose,  and  no  soap,  or  any 
other  substance,  should  be  allowed  to  soil  it. 
When  washed,  it  should  be  only  with  soda,  in- 
stead of  soap,  to  insure  more  complete  success. 

The  glasses  should  always  be  kept  away  from 
any  dampness  and  dust.  Great  care  must  be  taken 
that  no  vapors  of  chemicals  should  come  in  con- 
tact with  glasses  after  they  are  cleaned.  Other 
substances  may  be  employed,  such  as  tripoli  pow- 
der, photogene,  &c.,  care  being  taken  to  remove 
all  the  polishing  substances  before  the  plate  goes 
into  the  bath. 

Glasses,  unlike  Daguen*eotype  plates,  may  be 
cleaned  and  used  a  great  number  of  times ;  but 
they  will  require  more  careful  polishing  after  a 
few  impressions  are  made,  and  it  has  even  been 


130  QUALITY   OF   GLASSES. 

asserted  by  some  operators  that  they  will  actually 
loose  their  sensitiveness  after  a  few  trials.  It  is 
well,  therefore,  not  to  use  the  glasses  too  long; 
yet  the  practice  is  so  variable,  that  some  kinds  of 
glass  may  answer,  whilst  others  may  be  useless. 

The  finest  quality  of  plate  glass  is  best  adapted 
for  Ambrotypes,  and  that  which  is  free  from  color 
will  produce  the  most  pleasing  effects.  Many  per- 
sons, however,  use  an  inferior  quality  of  glass, 
which  of  com'se  is  a  great  detriment  to  their  j)ic- 
tures.  The  thickness  of  the  glass  is  of  some  con- 
sequence. It  should  not  be  too  thick,  else  the 
picture  will  appear  unnatural.  A  medium  thick- 
ness is  to  be  obtained,  if  possible. 


CHAPTER   IX. 

APPARATrS     FOE     AMBEOTYPES — CHElVnCALS     USED 

SUBSTANCES    FOR    FINISHING    THE    PICTURE PEEP- 

AEATION    OF    THE    NITEATE    BATH TO    IODIZE   THE 

BATH FILTERING      PEOCESS ADDING     ACID NEU- 
TRALIZING THE  BATH FULL  DIRECTIONS  FOR  KEEP 

mG   THE   BATH    IN    ORDER RENEWAL    OF    THE    NI- 
TRATE  OF   SILVER. 

The  following  are  the  various  utensils,  or  appa- 
ratus, necessary  for  the  Ambrotype  process : 

APPARATUS. 

One  gutta-percha  bath. 

One  dipping  rod — glass  or  gutta-percha. 

One  flat  dish  for  fixing  solution,  either  of  earthenware  or 
gutta-percha — the  latter  preferred. 

One  large  earthen  dish  for  the  developing  solution. 

One  bottle  for  the  developing  solution,  capable  of  holding 
two  quarts. 

One  four,  or  six  ounce  graduated  glass. 

One  large  bottle,  with  a  glass  stopper,  capable  of  holding 
more  than  the  silver  bath,  and  to  be  used  exclusively  for  that 
purpose. 

Three  glass  or  gutta-percha  funnels,  to  be  used  respectively 
for  the  nitrate  of  silver,  the  developing  solution,  and  the  fix- 
iiig  bath. 


132  AMBROTYPE   CHEMICALS. 

One  actino-hydrometer,  for  testing  the  nitrate  bath. 

A  new  and  distinct  plate-frame,  for  holding  the  glass 
plates  when  placed  in  the  camera. 

One  pair  of  scales,  containing  apothecaries'  and  avoirdu- 
pois weights. 

Cotton  for  filtering. 

Two  or  three  glass  rods. 

Tlie  following  chemicals  will  be  found  necessary : 

CHEMICALS. 

Nitrate  of  silver  (crystallized).  Iodized  collodion.* 

Protosulphate  of  iron.  Nitric  acid,  chemically  pnre. 

Acetic  acid.  Glacial  acetic  acid. 

Alcohol  95  per  cent.  Litmus-paper,  blue  and  red. 

Cyanide  of  potassium.  Iodide  of  potassium. 

Hyposulphite  of  soda.  Carbonate  of  soda. 

The  following  substances  are  required  to  finish 
the  pictui'e : 

EEQUISITES  FOR  FINISHING. 

"White  varnish.  Gum  demar  varnish. 

Black  varnish.  Venetian  or  Canada  balsam. 

Amber  varnish.  Daguerreotype  sealing-paper. 

Being  supplied  with  all  the  various  utensils  and 
chemicals,  the  first  and  most  important  prepara 
tion  would  be  the  nitrate  of  silver  bath,  and  herein 

*  The  preparation  of  the  collodion  will  be  found  in  Chapter  XI. 


PREPAKATION    OF   NITRATE   BATH.  133 

lies  one  of  the  main  secrets  of  success  in  all  the 
practice.  IJnless  the  bath  be  properly  prepared 
at  the  outset,  with  all  care  in  manipulating  and  in 
the  compoimding  of  the  other  chemicals,  all  the 
productions  will  be  failures. 

The  bath  once  in  a  proper  state,  success  is  much 
more  easily  attained. 

First  measure  the  bath  by  filling  it  with  water, 
then  pouring  it  into  the  graduated  glass  to  ascer- 
tain the  exact  number  of  fluid  ounces  which  the 
bath  contains.  To  every  ounce  of  water  in  the 
bath  must  be  added  forty  grains  of  nitrate  of  silver, 
pure  and  crystallized,  and  free  from  acid.  Test  a 
small  quantity  of  nitrate  of  silver  in  solution  with 
blue  litmus-paper.  If  any  acid  is  present,  the 
paper  instantly  becomes  red. 
•  By  calculation  the  quantity  required  for  the 
bath  can  easily  be  ascertained,  as  there  are  480 
grains  to  every  ounce.  If  the  bath  contains  two 
quarts,  or  64  ounces,  it  will  require  exactly  2,560 
grains,  or  5^  ounces  of  the  nitrate  of  silver.    Thus : 

64  X  40  =  2560  -f-  480  =  5^  ounces. 

Procure  distilled  water  in  all  cases,  if  possible ; 
but  if  this  be  not  always  obtainable,  pure  soft 
water,  which  has  been  boiled  and  filtered,  mav 

12 


134  lODroE   OF   SILVER  FOR   THE   BATH. 

answer.  In  no  case  use  water  that  lias  any  trace 
of  lime  or  soda. 

As  a  test  of  pure  water  may  not  always  be  at 
hand,  it  is  well  to  take  a  few  grains  of  nitrate  of 
silver,  and  drop  it  into  an  ounce  of  the  water  be- 
fore using.  Should  it  appear  to  dissolve,  or  throw 
down  any  precipitate,  you  may  be  assured  that  the 
quality  is  not  good,  and  it  will  not  answer  for  the 
bath. 

Dissolve  all  the  silver,  except  one  ounce,  in  the 
water,  which  must  be  placed  in  the  large  glass- 
stoppered  bottle  approj)riated  expressly  for  the 
bath,  reserving,  also,  about  four  or  six  ounces  of 
the  water  intended  for  the  bath,  which  may  be 
jjlaced  in  the  graduated  glass.  Into  this  put  the 
extra  ounce  of  nitrate  of  silver,  and  dissolve. 

TO  MAKE  THE  IODIDE  OF  SILVER  FOR  THE 

BATH. 

Take  about  twelve  grains  of  iodide  of  potassium, 
and  dissolve  it  in  one  ounce  of  water,  and  add  to 
it  two  drachms  of  the  nitrate  of  silver  solution 
from  the  large  bottle.  Avoid  strong  daylight  in 
this  process.  Immediately  there  will  be  seen  a 
yellow  precipitate,  which  is  the  iodide  of  silver. 
This  must  now  be  well  washed  three  or  four  times 


FILTEKmO    PROCESS.  135 

with  soft  water,  by  adding  eight  or  ten  ounces  at 
a  time,  and  allowing  it  to  subside,  when  the  super- 
fluous water  must  be  poured  off;  then  add  fresh 
water  until  all  the  potassium  is  washed  out,  leav- 
ing the  pure  iodide  of  silver. 

This  iodide  of  silver  is  now  to  be  poured  into 
the  six  ounces  of  water  in  which  one  ounce  of  ni- 
trate of  silver  was  dissolved.  Stir  it  with  a  glass 
rod,  and  after  it  is  partially  dissolved,  pour  the 
whole  into  the  large  bottle  containing  the  solution 
for  the  bath ;  shake  it  well,  and  filter  through  the 
funnel  expressly  reserved  for  the  nitrate  bath. 

This  amount  of  iodide  of  silver  will  be  required 
for  a  bath  containing  two  quarts.  The  same  pro- 
portions must  be  observed  for  baths  of  other  di- 
mensions. 

f'lLTERING  PROCESS. 

The  best  filter  is  composed  of  clean  cotton, 
which  must  first  be  saturated  with  alcohol,  and 
afterwards  thoroughly  washed  out  with  water. 
This  filter  is  preferable  to  all  others  for  photo- 
graphic purposes ;  and  in  all  cases  where  filtering 
is  required,  it  is  strongly  recommended. 

The  color  of  the  bath  should  at  fii"«t  appear  to 
be  a  milky  hue,  but  after  filtering  once  or  twice 


136  TESTING   THE  BATH. 

(as  may  be  necessary),  it  sliould  be  clear  as  water 
There  will  be  a  portion  of  the  iodide  of  silver 
which  will  not  be  dissolved.  This  must  in  all 
cases  Ije  filtered  out,  and  the  solution  rendered 
perfectly  clear  before  it  is  ready  for  use. 

After  the  bath  is  clear,  test  it  with  the  hydrom- 
eter made  expressly  for  the  purpose,  to  ascertain  if 
it  be  of  the  required  strength — viz.,  forty  grains  to 
the  ounce,  which  will  be  indicated  on  the  scale 
graduated  according  to  the  table  in  the  book  ac- 
companying the  hydrometer. 

The  bath  must  also  be  tested  with  blue  litmus- 
paper,  by  cutting  off  a  small  slip,  and  dropping 
one  end  of  it  into  the  solution.  If  it  turns  red,  you 
have  already  a  portion  of  acid. 

A  small  quantity  of  acid  is  necessary  to  produce 
the  required  tone  and  effect  of  the  collodion,  and 
also  to  remove  any  streaks  that  may  sometimes 
present  themselves. 

Two  kinds  are  used,  chemically  pure — viz.,  ni- 
tric and  glacial  acetic  acid.  The  former  has  been 
said  to  produce  the  finest  white  tones,  yet  it  is 
more  liable  to  change  the  nature  of  the  bath,  while 
the  latter  is  said  to  possess  a  more  uniform  action, 
and  to  work  with  great  regularity. 

The  quantity  used,  however,  of  either  is  very 


NEUTRALIZING    THE   BATH.  137 

small — not  over  eight  or  ten  drops  to  be  added  at 
first.  Should  lines  apjiear  running  up  and  down 
the  plate,  five  or  six  droj)s  more  may  be  added. 
Of  course  only  one  kind  of  acid  is  to  be  used  at  a 
time. 

TO  NEUTEALIZE  THE  NITRATE  OF  SILVER  BATH. 

In  order  to  neuti-alize  the  bath,  dissolve  half  an 
ounce  of  carbonate  of  soda  in  two  ounces  of  water ; 
then  pour  into  the  solution  a  drachm  or  two  at  a 
time,  quickly  shaking  the  bottle.  The  bath  will 
assume  a  whitish  appearance,  which  will  disap- 
pear on  shaking  the  bottle.  When  a  sufiicient 
quantity  of  the  soda  has  been  added  to  neutralize 
all  the  acid,  this  whitish  appearance  will  remain 
after  shaking  the  bottle.  As  soon  as  that  is  seen, 
there  can  be  no  more  soda  added  without  injury 
to  the  bath.  "Try  the  litnius-paiDcr,  and  when 
enough  soda  has  been  added,  it  will  of  com-se  re- 
main unchanged. 

Sometimes  caustic  potash  is  employed  to  neu- 
tralize the  bath,  when  a  brown  precipitate  falls, 
instead  of  a  white.  If  nitric  acid  has  been  used, 
and  one  desires  to  employ  the  glacial  acetic  in- 
stead, it  can  be  easily  neutralized  by  the  foregoing 
process,  and  the  latter  acid  added. 

12* 


138       KEEPING  THE  BATH  IN  OKDER. 

Sometimes  a  perfectly  neutral  bath  will  succeed 
well  in  the  Ambrotype  process,  and  it  is  even  rec- 
ommended at  first  to  be  used  in  that  state  before 
adding  the  acid — the  acid  being  added  only  when 
the  lines  make  their  appearance  on  the  plate. 

The  bath  should  always  be  kept  as  much  ex- 
cluded from  the  light  as  possible,  and  also  covered, 
to  avoid  collecting  dust  and  other  foreign  sub- 
stances. It  may  remain  constantly  in  the  gutta- 
j)ercha  dish  without  serious  injury.  Many  opera- 
tors prefer  pouring  it  into  the  bottle  after  the 
labors  of  the  day,  both  for  safety  from  accident, 
and  also  on  the  score  of  cleanliness. 

Avoid  the  introduction  of  any  vegetable  or  me- 
tallic substance  into  the  bath,  or  the  slightest  par- 
ticle of  alkahne  ingredient,  in  any  form.  It  fre- 
quently happens  that  particles  of  collodion  will 
leave  the  plate,  and  be  found  floating  in  the  bath. 
Whenever  this  occurs,  it  is  necessary  to  filter  it. 

The  gutta-percha  bath  should  be  arranged  in  a 
square  box  or  frame,  at  an  angle  of  about  thirty 
degrees,  or,  what  is  better  still,  a  covered  box, 
that  should  open  when  desired,  and  cover  the 
whole  when  not  in  use.  A  dark  cloth  may  also 
be  employed  to  cover  it. 

There  should  always  be  a  sufficient  quantity  of 


BOX   FOK   THE   PLATE-HOLDER.  139 

the  nitrate  of  silver  solution  reserved  in  the  large 
bottle  to  keep  the  bath  full  during  the  time  of 
operating.  An  ounce  of  nitrate  of  silver,  or  a  less 
quantity,  may  be  dissolved  in  the  bottle,  without 
the  addition  of  the  iodide  of  silver,  as  in  the  first 
preparation  of  the  bath. 

Some  operators  flow  their  bath  only  in  the 
morning,  in  order  to  remove  the  dust  which  col- 
lects on  the  surface,  and  would  fix  itself  on  the 
first  plate  inti-oduced  were  it  not  so  removed. 

Avoid  the  contact  of  the  human  hands  with  the 
niti'ate  bath,  as  every  drop  leaves  an  indelible 
stain. 

It  is  recommended  to  obtain  a  box  which  will 
support  the  plate-holder  in  an  upright  posi- 
tion after  the  plate  is  in  it,  previous  to  being 
placed  in  the  focus  of  the  camera,  thereby  avoid- 
ing damage  to  the  floor  or  carj)et  upon  which  the 
camera  stands. 

A  nitrate  bath  once  prepared  according  to  the 
foregoing  plan,  and  in  good  worldng  order,  will 
remain  in  action  for  years,  by  adding  occasionally 
a  little  more  acid,  say  ten  drops  at  a  time,  when 
lines  appear,  and  nitrate  of  silver  when  required. 
After  using  a  bath  for  a  great  number  of  imjires- 
sions,  it  will  be  necessary  to  add  more  iodide  of 


140  RENEWAL   OF   THE   BATH. 

silver,  wliich  must  be  done  in  the  same  manner  as 
described  on  page  134. 

When  the  bath  requires  a  renewal  of  the  nitrate 
of  silver,  as  it  necessarily  will,  after  a  given  quan- 
tity of  plates  have  been  prepared,  the  impressions 
will  appear  to  be  covered  unevenly  with  silver, 
after  the  application  of  the  fixing  solution. 

Test  the  bath  with  the  hydrometer,  and  add 
inore  silver  to  bring  the  sti'ength  up  to  the  requi- 
site standard — viz.,  forty  grains  to  each  ounce  of 
water. 


CHAPTER   X. 

THE  DEVELOPING  SOLUTIONS — 1LA.NNER  OF  COMPOUND- 
ING   THEM VARIOUS    FORMULAS    FOR    DEVELOPING 

SOLUTIONS TEST   OF  ACETIC  ACID — THE   FIXItlG   SO- 
LUTIONS  CYANIDE    OF    POTASSIUM HYPOSULPHITE 

OF   SODA ADDING    CHLORIDE   OF   SILVER. 

THE  DEVELOPING  SOLUTIOK 

The  chemicals  used  in  the  developing  solution 

are  sulphate  of  iron,  acetic  acid,  and  alcohol. 

^.     Sulphate  of  iron,       ....  2  ounces. 

Acetic  acid,  No.  8,   .         .        .         .  2  ounces. 

Alcohol  (either  80  or  95  per  cent.),   .  1  ounce. 

Water, 1  quart. 

Tlie  sulphate  of  iron  should  be  of  pure  quality, 
which  may  be  known  by  its  clear  and  transparent 
green  ciystals. 

Dissolve  the  iron  and  water,  and  filter;  then 
add  the  acetic  acid  and  alcohol,  keeping  it  in  a 
glass-stoppered  bottle,  ready  for  use.  Use  it  by 
pouring  out  a  small  quantity  at  a  time  in  an  open 
mouthed  bottle,  which  will  contain  six  or  eight 
ounces. 


142  THE   DEVELOPING   SOLUTIONS. 

Some  prefer  to  add  the  acetic  acid  an<il  alcohol, 
preserving  the  same  proportions  in  the  same  bottle 
as  it  is  required  for  use. 

If  one  is  not  consuming  it  very  rapidly,  this 
latter  plan  is  recommended. 

It  has  been  foimd,  when  all  the  ingredients  are 
mixed  at  once,  that  the  developing  solution  be- 
comes changed  after  standing  a  few  days,  and  a 
precipitate  is  formed. 

In  order  to  facilitate  the  dissolving  of  the  sul- 
phate of  iron,  it  may  be  pulverized  in  a  mortar, 
and  warm  water  added  instead  of  cold. 

This  solution  is  to  be  used  only  once  upon  the 
plate,  as  it  forms  with  the  silver  another  substance, 
which,  on  a  second  application,  would  injure  the 
picture.  Some  operators,  however,  Lave  filtered 
and  used  it  again  by  adding  a  small  quantity  of 
acetic  acid. 

There  are  other  solutions  and  other  formulas  for 
the  developer  which  are  highly  recommended,  a 
few  of  which  are  given : 


No.  1. 


Proto-sulphate  of  iron, 

2  ounces 

Acetic  acid,  No.  8, 

2  ounces 

Alcohol,      .... 

1  ounce. 

Nitric  acid, 

i  ounce. 

"Water,         .... 

1  quart. 

IMPTJKITIES   OF   ACETIC   ACID. 


143 


No.  2. 

Proto-snlphate  of  iron, 

4  ounces. 

Acetic  acid,  No.  8, 

4  ounces. 

Alcohol, 

4  ounces. 

"Water, 

1  quart. 

Ko.  3. 

Proto-sulpliate  of  iron, 

3  ounces. 

Acetic  acid,  No.  8, 

.- 

3  ounces. 

Alcohol, 

3  ounces. 

Sulphuric  acid,    . 

i  ounce. 

Water, 

1  quart. 

No.  4. 

Proto-sulphate  of  iron. 

• 

1  ounce. 

Nitrate  of  potash  (refined  nitre). 

1  ounce. 

Acetic  acid. 

• 

3  ounces. 

Water, 

. 

1  quart. 

The  foregoing  receipts  are  given  mainly  to  in 
dicate  the  various  processes,  all  tending  to  the 
same  results.  The  addition  of  nitric  acid  and  sul- 
phuric acid  has  been  said  by  some  to  render  the 
pictures  whiter.  But  this  is  doubted  by  others; 
and  the  result  of  a  long  experience  has  shown  that 
the  first  receipt  here  given  will  produce  the  best 
pictures. 

There  are  many  impurities  of  acetic  acid,  and  it 
is  necessary  to  test  it,  which  is  done  by  putting 
merely  one  or  two  drachms  of  the  silver  solution 
from  the  bath  into  a  small  quantity  of  the  acid, 
or  either  dissolve  a  small  quantity  of  nitrate  of 
silver,  and  add  it  to  the  acid.     If  the  acid  exhib- 


144  THE   FIXING   SOLUTIONS. 

its  any  precipitate,  it  will  not  answer  for  the  pur- 
poses of  a  developing  agent. 

THE  FIXING  SOLUTIONS. 
The  fixing  solutions  are  composed  of  cyanide  of 
potassium  and  hyposulphite  of  soda,  as  follows : 

No,  1.     Cyanide  of  potassium,   .         .         .         jounce. 
Water, 1  pint. 

Dissolve  and  filter,  and  it  is  ready  for  use. 

No.  2.    Hyposulphite  of  soda,          .        .        4  ounces. 
Water, 1  pint. 

Dissolve  and  filter. 

The  fixing  solutions  are  very  simj)le,  and  easily 
kept  in  order,  except  that,  after  using  for  a  num- 
ber of  pictures,  they  will  require  strengthening. 

Some  operators  add  a  small  quantity  of  chloride 
of  silver  to  the  solution,  and  it  is  said  it  will  render 
the  pictures  of  a  whiter  and  purer  tone. 

Filter  this  solution  often,  and  avoid  dust  and 
other  foreim  substances. 

The  cyanide  of  potassium  fixing  solution  is  the 
one  greatly  preferred,  and  most  commonly  used 
for  the  Ambrotype  process. 


CHAPTER    XI. 

ON  THE  PRACTICE  OF  THE  ART  IN  ALL  ITS  DETAILS, 
FROM  THE  CLEANING  OF  THE  PLATE  TO  THE  AP- 
PLICATION  OF   THE   FIXING   SOLUTION DRYING  THE 

PICTURE. 

The  practice  of  this  art  is  such,  that  a  careful 
and  accurate  manner  of  the  manipulating  through 
the  whole  is  necessary  to  insure  success. 

It  is  absolutely  necessary  to  have  a  dark  room, 
or  one  that  can  be  made  so  at  will,  and  yet  a  lamp 
or  candle  will  be  required  in  some  portion  of  the 
process,  or  if  a  window  is  arranged  with  a  yellow 
reflection  within  the  room  by  yellow  cloth  or  re- 
flectors it  will  answer  as  well.  The  lamp  should 
be  placed  behind  a  yellow  glass,  so  that  whatever 
light  falls  upon  the  glass  plate  shall  be  of  a  yellow 
hue,  as  the  plate  is  very  sensitive  to  the  light  on 
its  removal  from  the  bath.  By  some  operatoi-s  it 
is  asserted  that  all  these  precautions  are  not  neces- 
sary. 

The  plate  glass  is  first  to  be  cleaned  thoroughly, 

13 


146       PREPAEING  TKE  GLASS  PLATE. 

according  to  the  directions  in  a  former  portion  of 
this  work.  It  is  then  well  brushed  off  with  a  soft 
camel's-hair  brush,  in  order  to  remove  all  the  dust. 

Standing  near  the  bath  with  your  collodion  well 
decanted,  as  described  in  the  section  of  this  work 
devoted  to  collodion,  holding  the  glass  in  jour 
left-hand  thumb  and  finger,  pour  out  very  care- 
fully a  continuous  stream  of  collodion  upon  the 
middle  of  the  plate,  sufficient  in  quantity  when 
allowed  to  flow  entirely  over,  to  cover  it  entirely. 

Allow  the  collodion  to  flow  first  to  the  lower 
left-hand  corner,  then  to  the  lower  right-hand,  and 
finally  let  the  superfluous  quantity  retm-n  into  the 
bottle  at  the  right-hand  corner  near  the  thumb. 
A  little  practice  will  enable  one  to  pour  the  collo- 
dion on  the  glass,  and  return  that  portion  not  re- 
quired to  the  bottle  without  waste. 

Avoid  any  contact  of  the  collodion  with  the 
thumb,  as  streaks  will  be  caused  thereby ;  but  if  a 
portion  should  run  on  the  opposite  side  of  the 
glass,  it  will  not  injm-e  the  picture,  as  that  can  be 
easily  removed  after  it  is  taken  from  the  fixing 
solution. 

Hold  the  plate  nearly  horizontal  with  the  day- 
light on  it,  so  that  the  light  shall  reflect  on  the 
surface  of  the  glass,  and  always  retain  the  position 


FORXnNG   IODIDE    OF   SILVER.  147 

of  it  clown,  in  the  same  manner  as  it  was  when  tlie 
collodion  was  poured  into  the  bottle  from  the  glass 
— that  is,  the  end  where  the  collodion  left  the 
plate  must  always  be  kept  lower  than  the  other 
portion.  As  soon  as  the  film  appears  to  be  >  dry- 
ing, as  it  will  in  a  few  seconds,  and  when,  by  just 
placing  the  finger  on  a  corner  of  the  plate,  the 
collodion  becomes  of  a  glutinous  nature,  or,  rather, 
as  soon  as  it  is  set,  immerse  it  in  your  bath,  with 
the  same  lower  portion  of  the  plate  down  as'' when 
you  were  setting  the  film. 

The  plate  should  never  be  entirely  dry,  but  hold 
a  medium  between  moisture  and  dryness.  The 
light  must  now  be  excluded  from  the  bath,  either 
by  covering  it  with  a  dark  cloth,  or  closing  the  box 
containing  the  bath,  or  the  door  of  the  room,  and 
the  plate  allowed  to  remain  in  the  bath  one  or  two 
minutes.  It  may  then  be  carefully  raised  from  the 
bath,  and  if  a  film  of  iodide  of  silver  is  formed 
sufficient  for  its  removal  to  the  camera,  it  will  as- 
sume a  perfectly  smooth  appearance  on  viewing 
the  surface ;  but  if  the  glass  is  removed  too  soon, 
it  will  have  the  appearance  of  grease,  and  run  in 
lines  down  the  plate. 

In  order  to  facilitate  the  process,  you  can  move 
the  glass  slightly  from  side  to  side  in  your  bath, 


148  DEVELOPING    THE   PICTURE. 

raising  it  carefully,  and  viewing  the  surface,  or  the 
plate  may  remain  in  the  bath  three  or  four  min- 
utes, during  which  time  the  person  whose  likeness 
is  to  be  taken  may  be  placed  in  position. 

On  removing  the  plate  from  the  bath,  care 
should  be  observed  that  no  daylight  falls  ujDon  it. 
The  nitrate  of  silver  should  be  allowed  to  run  off 
for  a  few  seconds  into  the  bath  before  placing  it  in 
photographic  frames.  After  the  plate  is  in  the 
frames  ready  for  tlie  camera,  it  must  always  re- 
main in  a  perpendicular  position,  leaning  against 
the  wall,  or  some  other  substance.  ITever  allow 
it  to  be  j)laced  horizontally  from  the  moment  the 
glass  is  in  the  frame  until  it  is  developed,  or  lines 
will  be  produced  on  the  plate.  Before  the  next 
plate  is  placed  in  the  frame,  it  must  be  carefully 
wiped  dry  with  a  dry  cloth  or  towel. 

As  short  a  time  as  possible  should  elapse  after 
the  glass  is  in  the  plate-holder  before  j)lacing  it  in 
the  focus  of  the  camera.  The  time  required  in 
the  camera,  of  course,  must  be  determined  by  ac- 
tual experiment. 

The  plate  is  then  taken  to  the  developing  stand, 
which  must  be  so  arranged  tliat  water  can  flow 
on  the  plate  at  any  moment,  after  pouring  on 
the  developing  solution.     Holding  the  plate  again 


TIME   OF   EXPOSURE   NECESSARY.  149 

in  the  left  Land,  as  in  using  tlie  collodion,  over 
a  large  dish  sufficient  to  receive  all  the  solu- 
tion that  will  not  remain  on  the  surface,  quickly 
pour  over  the  developing  solution  on  the  right- 
hand  side  of  the  glass,  enough  to  cover  it  all 
at  the  same  instant,  and  move  it  over  the  whole 
surface,  as  in  gilding  a  Daguerreotype  plate.  The 
picture  will  quickly  appear;  and  as  soon  as  the 
outlines  of  the  drapery  are  seen  distinctly,  then 
apply  the  water  to  the  surface  in  a  gentle  stream, 
60  as  not  to  remove  the  collodion  film. 

A  little  care  and  experience  will  be  necessaiy 
in  the  developing  process,  for  in  this  consists  the 
great  beauty  of  the  jncture.  By  a  proper  develop- 
ment all  the  fine  half  tints  are  produced,  and  the 
drapery  is  brought  out  with  distinctness. 

It  is  preferred  by  some  rather  to  over-time  the 
picture  in  the  camera,  and  use  a  shortened  de- 
veloping process,  yet  the  best  results  are  attained 
by  the  exact  time  of  exposure,  combined  with  the 
proper  development.  It  is  well  known  that  the 
longer  the  picture  is  developed,  the  lighter  it  be-* 
comes ;  but  beyond  a  certain  length  of  time,  a  dis- 
agreeable tone  is  produced.  It  is  necessary,  there- 
fore, to  allow  sufficient  time  in  the  camera  for  the 
picture   to   be   developed   in   the   usual  manner. 

13* 


1.50  DRYING   THE   PLATE. 

About  ten  or  fifteen  seconds,  in  ordinary  tem- 
perature, is  long  enough  for  a  successful  develop- 
ment. This,  however,  is  subject  to  a  variety  of 
changes,  which  must  be  learned  by  actual  experi- 
ence. 

After  thoroughly  washing  the  solution  from  the 
glass  on  both  sides,  lay  it  in  a  flat  dish  containing 
the  fixing  solution,  with  the  collodion  side  uppei- 
most.  This  may  be  performed  in  the  light  of  day. 
If  cyanide  of  potassium  is  used,  it  will  remove  the 
iodide  of  silver  which  has  been  unchanged  by  the 
action  of  the  light  in  a  few  seconds.  But  if  hyj)o- 
sulphate  is  used,  it  will  require  somewhat  longer. 
As  soon  as  the  picture  is  seen  clearly,  be  careful  to 
remove  it,  to  wash  all  the  fixing  solution  from  the 
glass  with  a  good  supply  of  soft  water,  as  the 
slightest  trace  of  these  solutions  will  injure  tiie 
picture. 

The  plate  can  now  be  dried  by  a  gentle  heat  of 
the  fire,  but  not  too  quickly,  as  streaks  wall  be 
formed.     It  is  now  ready  for  the  varnishes. 

The  glasses  may  also  be  dried  by  the  applica- 
tion of  the  spirit-lamp,  care  being  used  to  avoid 
too  great  heat,  which  will  cause  the  glass  to  break. 


CHAPTER    III. 

VARNISHING   THE   PICTURE SINGLE   GLASS   PROCESS 

STEREOSCOPIC  AMBROTYPE TREBLE   GLASS    PROCESS 

THE   DOUBLE   GLASS   PROCESS CUTTING's  PATENT 

THE    PATENT   LEATHER    PROCESS. 

There  are  so  manj  kinds  of  varnishes  in  use, 
and  such  a  variety  of  modes  of  sealing  up  the 
Arabrotypes,  that  one  is  in  great  doubt  which  is 
best  to  be  adopted.  We  shall  give  all  the  various 
plans  adopted  by  the  profession,  including  the 
great  process,  known  as  Cutting's  patent. 

SINGLE  GLASS  PROCESS. 

The  j)lan  mostly  adopted  of  applying  the  var- 
nishes, is  to  pour  them  on  like  the  collodion. 

All  pictures  which  are  put  up  with  the  single 
glasses  are  said  to  be  improved  by  the  application 
of  the  white  varnish  before  the  black  is  used ;  yet 
by  some  it  is  asserted  they  are  the  same  after  the 
black  is  applied  as  though  no  white  had  been  ap 


152  VAENISHING    THE   PICTURES. 

plied.  The  white  varnish  will  dry  very  soon  if  the 
plate  is  slightly  warmed  by  the  spirit-lamp,  when 
the  black  can  be  added,  and  allowed  to  dry  by 
laying  it  in  a  horizontal  position,  with  the  varnish 
iij)permost. 

The  black  varnish  can  be  applied  directly  on 
the  collodion  side,  withont  the  white  varnish. 

In  most  instances  the  black  varnish  has  a  ten- 
dency to  darken  the  picture — hence  the  picture 
when  dried  and  ready  for  the  varnish  should  ap- 
pear rather  lighter  than  you  desire  it  when  finished. 

Pictures  can  also  be  varnished  with  the  white 
varnish  on  the  collodion  side,  and  the  black  on 
the  opposite  side.  These  can  be  colored  as  in  a 
Daguerreotype  plate,  and  sealed  up  with  a  mat 
and  glass  in  the  same  manner.  They  are  some- 
times colored  before  the  white  varnish  is  applied. 
Many  are  sealed  up  with  the  collodion  side  colored, 
and  not  varnished  with  the  white,  but  only  black, 
on  the  reverse  side. 

STEEEOSCOPIO  AMBROTYFES. 
There  is  quite  a  novel  method  of  sealing  Am- 
brotypes,  by  some  called  stereoscopic,  because  they 
have  a  stereoscopic  effect,  even  without  the  stere- 
oscopic lenses.     The  Ambrotype  is  first  taken  with 


TREBLE  GLASS  PROCESS.  153 

a  dark  background,  instead  of  the  usual  white  one. 
After  it  is  dried,  a  small  camel's-hair  brush  is  used 
to  apply  the  black  varnish  to  the  reverse  side  of 
the  glass,  and  only  enough  to  cover  the  figure,  and 
allowing  the  background  to  remain  perfectly  clear 
and  transparent.  Place  a  piece  of  white  j^aper, 
or,  what  is  better,  Bristol  board,  on  the  back  of  the 
glass,  and  the  picture  will  be  seen  to  stand  out 
from  the  background  in  relief. 

All  the  pictures  sealed  with  the  collodion  side 
uppermost  will  require  a  glass  over  them  for  pro- 
tection. 

TEEBLE  GLASS  PEOCESS. 

By  using  a  third  glass  instead  of  the  white 
paper,  a  beautiful  effect  is  produced,  if  the  glass 
is  coated  with  collodion,  and  exposed  in  the  camera 
to  the  white  background,  and  developed  and  fixed 
exactly  as  in  the  process  of  taking  the  portrait. 
Any  desired  shade  can  be  attained,  and  a  great 
variety  of  colors  may  be  used,  instead  of  white,  the 
effect  of  which  is  very  pleasing. 

Another  beautiful  effect  may  be  produced  by 
first  taking  a  view  from  some  engraving  of  scenery, 
tSrc. — coloring  it,  and  using  that  for  the  third  or 
back  glass. 


154  DOUBLE   GLASS   PEOCKSS. 


DOUBLE  GLASS  PEOCESS. 

The  use  of  Canada  balsam  in  sealing  up  Am- 
brotypes  has  been  adopted  by  those  who  have 
heretofore  used  the  "  cutting''''  process.  The  bal- 
sam has  been  found  on  trial  to  be  very  difficult 
of  application,  and  jDcrplexing.  The  adoption 
of  good  white  varnish  instead  is  much  prefera- 
ble, being  attended  with  less  than  half  the  trouble, 
and  rendering  the  pictures  more  clear  and  transpa- 
rent. 

They  can  be  colpred  on  the  collodion  side,  and 
put  up  with  the  transparent  case  with  great  fa- 
cility. 

The  varnish,  however,  should  be  a  little  thicker 
than  ordinary  white  varnish,  which  can  be  ren- 
dered so  by  exposing  it  for  a  day  or  two  to  the 
open  air,  or  the  addition  of  a  little  more  gum 
copal  will  answer  the  same  end. 

Only  a  small  quantity  need  be  used,  say  one  or 
two  drops  on  the  middle  of  the  glass.  Gently  press 
the  second  glass  upon  the  varnish,  and  it  will  im- 
mediately flow  over  the  whole  surface.  The  pic- 
ture can  be  sealed  with  the  sealing-paper  before  it 
has  flowed  over  entirely,  which  will  prevent  the 


PATENT  LEATHER  PROCESS.         155 

superfluous  varnish  from  running  out  at  the  sides 
of  the  glasses. 

Any  white  gums  may  be  dissolved  either  in 
spirits  of  turpentine  or  alcohol,  and  used  for  the 
medium  of  holding  the  two  glasses  ;  but  the  com- 
mon white  varnishes  have  been  found  to  answer 
quite  as  well  as  the  Canada  balsam. 

PATEIiTT  LEATHER  PROCESS. 

Ambrotypes  can  be  easily  transferred  from  the 
glass  plate  to  the  surface  of  patent  leather  by  the 
following  process : 

Add  thirty  drops  of  nitric  acid  to  two  ounces  of 
alcohol,  and  after  the  picture  is  well  dried  upon 
the  glass,  pour  enough  of  the  alcohol,  prepared  as 
above,  on  the  surface  to  cover  it. 

Clean  the  japanned  surface  of  the  patent  leath- 
er with  soft  canton  flannel  onlj-,  and  pour  over  the 
alcohol  two  or  three  times.  Then  lay  the  leather 
upon  the  surface  of  the  picture,  and  place  another 
glass  over  it,  retaining  the  leather  between  the  two 
glasses  with  the  patent  clothes-pins,  or  in  any 
manner  to  press  the  glasses  evenly  over  the  leath- 
er, for  about  ten  minutes ;  they  can  then  be  sep- 
arated, and  the  picture  will  leave  the  glass  and 


156  APPLYING    THE   CANADA    BALSAM. 

adhere  to  the  leather,  which,  when  dried,  can  be 
rubbed  without  any  possibility  of  removal. 

APPLYING  THE  CANADA  BALSAM. 

In  applying  the  Canada  balsam,  or  any  thick- 
ened varnish,  between  the  glasses,  great  care 
should  be  used  in  pouring  it  on  the  surface  of  the 
glass.  It  must  be  placed  on  the  middle  of  the 
glass  plate,  say  about  two  or  three  drops,  and  the 
additional  glass  carefully  cleaned,  and  free  from 
dust,  laid  over  first  on  one  edge,  then  to  be  pressed 
gently  doNvn,  and  before  the  balsam  spreads  out 
to  the  edges,  it  can  be  sealed  up  with  the  adhesive 
paper.  It  will  in  a  short  time  spread  entirely 
over  the  surface,  and  render  the  picture  clear  and 
transparent. 

The  application  of  the  balsam  is  necessarily  at- 
tended with  more  difficulty  than  any  other  var- 
nishes which  are  recommended,  from  its  peculiar 
glutinous  properties,  and  the  tendency  it  has  to 
ooze  out  at  the  edges  after  the  picture  is  sealed. 
It  can,  however,  be  removed  effectually  by  alco- 
hol, and  rubbing  it  with  canton-flannel,  as  all  the 
balsams  and  gums  are  soluble  in  strong  95  per 
cent,  alcohol. 


CHAPTER    XIII. 

THE  MANUFACTURE  OF  GUN-COTTON — TEST  OF  THE 
ACIDS  EMPLOYED WASHING  AND  DRYING  THE  GUN- 
COTTON' — PREPARATION     OF     THE      COLLODION' ITS 

NATURE  AND   PROPERTIES ETHER  AND  ALCOHOL 

TO    IODIZE    COLLODION    FOR    AMBROTYPES METHOD 

OF  PRESERVING  COLLODION,  AND  KEEPING  IT  READY 

FOB   USE TESTS    OF   GOOD    COLLODION TO   REMOVE 

THE   COLOR   FROM   COLLODION. 

A  WORK  like  this  would  be  incomplete  without 
full  and  practical  details  relative  to  the  prepara- 
tion of  gun-cotton,  and  its  conversion  into  col- 
lodion, although  the  manufacture  of  it  is  attended 
with  considerable  diificultj  and  uncertainty.  It  is 
recommended  to  beginners,  therefore,  to  purchase 
their  collodion  of  those  more  experienced  opera- 
tors, when  only  a  small  quantity  is  required.  In- 
deed, the  manufacture  of  gun-cotton  itself  is  liable 
to  great  variation,  as  well  as  being  very  deleteri- 
ous to  health.  It  is  found  that  even  those  who 
make  collodion  for  sale,  purchase  their  gun-cotton 

14 


158  THE   DISCOVERY   OF   GUN-COTTON. 

ready  made.  Both  gun-cotton  and  collodion  are 
all  perfectly  iodized  and  warranted.  They  can  be 
found  for  sale  by  most  dealers  in  Daguerreotype 
goods. 

Collodion  is  so  called  from  a  Greek  word,  which 
signifies  "  to  stick."  It  is  a  transparent  fluid,  pro- 
cured generally  by  dissolving  gun-cotton  in  ether, 
or  ether  and  alcohol. 

It  was  discovered  by  Professor  Schoenbein,  of 
Basle,  Switzerland,  in  the  year  1846,  and  was  firat 
used  for  surgical  purposes  only,  being  smeared 
over  fresh  wounds  and  raw  surfaces,  in  order  to 
preserve  them  from  contact  with  the  air  by  the 
tough  film  which  it  leaves  on  evaporation.  It  is 
now  sold  by  druggists  for  the  same  purpose ;  but 
photographers  have  hailed  the  discovery  of  collo- 
dion as  the  final  keystone  to  their  wonderful  art, 
and  they  draw  large  contributions  from  this  sub- 
stance. It  is  consequently  of  great  importance 
that  its  preparation  should  be  the  most  complete 
and  exact  that  can  be  attained. 

Gun-cotton  is  procured  by  immersing  the  pure 
clean  fibres  of  cotton  in  sulphuric  acid  and  nitric 
acid,  or  sulphuric  acid  and  nitrate  of  potash. 

If  a  large  quantity  of  gun-cotton  is  desired,  the 
mixture  of  nitric  and  sulphuric  acid  is  generally 


TO  MAKE   GUN-COTTON.  159 

adopted.  For  photogmpliic  purposes,  however, 
the  mixture  of  nitrate  of  j)otash  and  sulphuric  acid 
is  used  as  follows : 

TO  MAKE  GUN-COTTOK 


Granulated  nitrate  of  potash,     . 

6  ounces, 

Sulphuric  acid, 

5  ounces, 

Pure  cotton,      .... 

.     160  grains. 

The  nitrate  of  potash  should  be  pulverized  in  a 
porcelain  mortar,  and  the  sulphuric  acid  added 
and  mixed  until  a  thick  pasty  substance  is  formed, 
when  the  cotton  must  be  quickly  immersed,  and 
stirred  with  a  glass  rod,  so  as  to  thoroughly  incor- 
porate the  cotton  in  the  mixture.  Then  pound  the 
cotton  slightly  for  a  period  of  ten  minutes.  When 
the  cotton  assumes  a  stringy  appearance,  and  on 
separating  the  fibres,  it  breaks  easily,  it  must  be 
quickly  immersed  in  a  quantity  of  water  to  re- 
move the  acid,  after  which  it  is  to  be  well  washed 
for  ten  or  fifteen  minutes  in  water,  constantly 
changing  it,  until  all  traces  of  the  acid  disappear. 
Great  care  is  necessary  to  be  observed  in  prej^ar- 
ing  the  gun-cotton.  It  should  be  made  in  an  open 
space,  where  free  circulation  of  air  is  obtained,  in 
order  that  the  deleterious  fumes  of  the  acid  shall 
pass  away.     The   quality  of  the  ingredients  is 


160  WASHmG   THE    ACIDS. 

Inglily  essential.  The  rectified  nitrate  of  potash, 
known  as  "  Dnpont's  grannlated  nitre,"  is  prefer- 
able. The  acid  shonld  be  of  the  specific  gravity  of 
1.860,  and  free  from  water. 

On  mixing  the  acid  and  nitre,  the  temperature 
should  be  raised  to  about  140°,  or  it  will  become 
80  if  they  are  of  the  required  quality,  in  conse- 
quence of  the  small  quantity  of  water  contained  in 
the  nitre. 

The  most  expeditious  plan  to  wash  the  acid  out 
is  to  have  running  water,  as  from  a  hydrant. 

As  soon  as  the  acid  is  completely  washed  out, 
which  may  be  ascertained  positively  by  using  lit- 
mus-paper, the  cotton  is  then  to  be  placed  in  alco- 
hol, in  order  to  remove  all  traces  of  water ;  then 
by  wringing  it  out  in  a  clean  towel,  all  the  alcohol 
can  be  removed,  and  it  is  then  ready  to  spread  out 
on  white  paper  to  dry,  which  will  be  done  in  a  few 
moments. 

If  the  manufacture  of  the  gun-cotton,  as  above 
described,  has  been  successful,  the  product  will  be 
capable  of  the  following  conditions :  A  small  quan- 
tity will  explode  on  the  application  of  heat.  It 
will  dissolve  readily  in  a  solution  of  alcohol  and 
ether,, in  certain  proj)ortions,  without  leaving  much 
residuum. 


TKEPARATION    OF   COLLODION.  101 

The  manufacture  of  gun-cotton  is  usually  attend- 
ed with  many  difficulties,  and  liable  in  all  cases  to 
result  in  failure  from  the  slightest  variation  of  the 
process,  and  withal  is  quite  detrimental  to  health. 
It  is  therefore  recommended  to  purchase  the  gun- 
cotton,  when  possible,  thereby  saving  all  the  per- 
plexity and  uncertainty  attending  its  preparation. 

PEEPARATION  OF  THE  COLLODIOK 

Assured  that  you  have  a  good  quality  of  gun- 
cotton,  the  preparation  of  the  plain  collodion  is  at- 
tended with  very  little  difficulty.  The  proportions 
are  as  follows : 

Sulphuric  ether,  concentrated,  sp.  g.  720  .  10  ounces. 
Alcohol,  95  per  cent.,  sp.  g.  820  .  .  6  ounces. 
Gun-cotton 80  grains. 

Mix  these  in  the  order  above  given,  and  shake 
them  thoroughly,  when  the  cotton  will  be  seen  to 
dissolve,  and  the  substance  to  assume  a  glutinous 
appearance  on  the  inner  surface  of  the  bottle.  In. 
some  instances  it  may  require  the  addition  of  more 
gun-cotton  to  render  the  collodion  of  the  required 
consistency.  This  can  be  ascertained  by  pouring 
a  small  quantity  upon  a  piece  of  glass,  and  allow- 
ing the  ether  to  evaporate.     If  a  thick  film  is 

14* 


163  TO   IODIZE   COLLODION. 

formed  on  the  glass  sufficient  to  hold  together,  and 
to  be  raised  up  "without  breaking  very  readily,  it 
will  answer ;  but  if  it  does  not  contain  these  requi- 
sites, add  more  gun-cotton.  If  too  thick,  then  add 
more  ether  and  alcohol,  in  the  same  relative  pro- 
portions. 

Allow  this  to  stand  a  few  hours  to  settle,  then 
decant  into  another  bottle,  leaving  a  small  j)ortion 
at  the  bottom,  which  will  remain  undissolved  by 
the  ether  and  alcohol.  This  sediment  may  be  re- 
served until  the  next  lot  is  required,  and  added  to 
it  without  loss. 

TO  IODIZE  THE  COLLODION  FOR  AMBR0TYPE8. 

Pure  collodion,  ....        8  ounces. 

Bromo-iodide  of  silver,       .         .         .         4  drachms. 

Prepared  as  described  on  page  185, 

Hydro-bromic  acid,    .         .         .         .20  di-ops. 

Prepared  as  described  on  page  18Y. 

The  iodizing  of  the  collodion  is  also  liable  to  a 
variety  of  uncertainties  in  the  result.  If  there  is 
any  defect  in  the  quality  of  the  ether  or  the  alco- 
hol, the  collodion  will  not  work  with  good  results. 
This  can  only  be  known  on  trial.  If  the  film 
sbould  not  prove  thick  enough  on  using,  add  20 


PRESERVING   THg   COLLODION.  163 

grains  of  iodide  of  potassium  and  10  grains  of 
bromide  of  potassium,  as  follows :  First  dissolve 
the  bromide  in  a  drachm  or  two  of  water,  then 
add  the  iodide.  When  both  are  well  dissolved, 
add  the  whole  to  the  eight  ounces ;  shake  it  well, 
and  allow  it  to  stand  for  a  few  days.  It  will  as- 
sume at  first  a  thick  and  opaque  apj)earance,  but 
will  settle  clear,  if  left  in  quiet  for  a  suificient 
length  of  time  for  all  the  precipitate  to  fall.  It 
can  then  be  decanted  into  another  bottle,  ready 
for  use. 

The  remainder  of  the  collodion  recipes,  together 
with  the  prej)arations  of  the  iodides  and  bromides, 
and  the  various  saturated  solutions,  will  be  given 
in  a  separate  chapter. 

Collodion  should  be  kept  as  much  as  possible 
from  the  light,  although  by  some  it  is  asserted  that 
light  does  not  affect  its  properties.  Yet  it  must  be 
apparent  that  if  the  collodion  is  affected  by  light 
in  any  form,  it  will  certainly  be  if  exposed  to  its 
rays  for  a  long  time.  In  no  case  should  it  be 
shaken  after  it  is  decanted. 

The  most  successful  manner  of  using  collodion 
is  to  be  provided  with  three  long  bottles  made  ex- 
pressly for  this  purpose.  Fill  each  one  from  the 
large  bottle,  allowing  them  to  stand.     Use  from 


164  TESTS   OF   COLLODION. 

each  bottle,  alternately.  By  this  means  there  can 
be  no  possibility  of  disturbing  the  j)articles  in  the 
collodion,  and  one  will  also  avoid  many  spots  and 
lines  upon  the  glass  plates. 

Collodion  requires  to  be  perfectly  clear  and 
transparent  in  order  to  work  successfully.  The 
color  may  at  times  vary.  On  first  mixing  the  in- 
gredients, it  will  assume  a  yellow  hue,  changing 
to  a  darker  shade,  and  finally  to  a  red.  The  color 
does  not  in  any  degree  afiect  the  working  proper- 
ties of  the  collodion. 

The  tests  of  good  collodion  before  working  are, 
that  it  ajDpears  clear  and  trans^iarent,  devoid  of 
small  particles  floating  in  it;  that  it  be  thick 
enough  to  forai  a  film  readily  on  the  glass,  and 
that  it  dries  with-  perfect  smoothness,  without 
ridges  or  lines. 

But  the  best  test  is  to  make  a  trial  picture  with 
it,  and  the  result  will  soon  convince  one  of  the 
success  or  failure  of  his  production. 

TO  EEMOYE  THE  COLOR  FROM  COLLODION. 

It  may  sometimes  be  necessary  to  remove  the 
reddish  color  which  is  so  often  seen  in  Ambrotype 
collodion.  In  order  to  do  this  there  can  be  added 
a  few  strips  of  2dnc,  or,  what  is  more  expeditious, 


TO   REMOVE  THE   COLOR   FROM   COLLODION.     165 

add  three  or  four  ounces  of  pure  mercury,  and 
shake  it  well  for  a  few  moments,  when  the  whole 
will  assume  a  beautiful  yellow  color. 

The  mercury  will  subside,   and  the  collodion 
may  be  poured  off  clear  and  transparent. 


CHAPTER  XIV. 

COLOKmG  AMBROTYPES COLORS    EMPLOYED AMBRO- 

TYPES      FOR      LOCKETS TAKING     VIEWS COPYING 

DAGUERREOTYPES    BY   THE    AMBROTYPE    PROCESS 

COPYING  ENGRAVINGS,  STATUARY,  MACHINERY,  ETC. 

The  23^23116^  of  coloring  tlie  Ambrotype  pic- 
tures has  been  questioned  by  many,  and  we  may 
even  doubt  if  they  are  improved  by  it ;  but  many 
persons  desire  to  see  themselves  in  their  natural 
colors.  The  artist  is  therefore  compelled  to  devise 
some  plan  of  gratifying  the  public  taste,  and  color 
his  pictures  true  to  life.. 

Many  attempts  have  been  made  to  color  Am- 
brotypes,  and  seal  them  with  the  single  glass,  with 
the  colors  to  be  seen,  but  this  plan  has  been  found 
impracticable,  except  in  a  certain  degree.  Tlie 
colors  may  be  seen  through  the  glass  if  they  are 
very  deeply  colored. 

The  black  varnish  removes  nearly  all  color,  even 
when  it  is  placed  over  the  white  varnish,  and  the 


COLOKS   USED   FOR   AMBEOTTPES.  167 

opacity  of  the  collodion  is  such,  also,  that  the 
colors  themselves  cannot  be  seen  through  the  irlass 
but  very  slightly,  even  before  the  black  varnish  is 
applied.  The  only  feasible  plan  of  applying  the 
colors  is  on  the  collodion,  blackening  the  reverse 
side  of  the  glass.  The  colors  are  applied  to  the 
■  collodion  after  it  is  thoroughly  dried,  in  the  same 
manner  as  in  the  DagueiTeotype ;  but  it  is  neces- 
sary to  color  much  more  intensely,  in  order  that 
the  application  of  the  white  varnish  may  not  re- 
move all  the  color,  as  it  invariably  will  a  por- 
tion of  it.  After  the  white  varnish  is  applied  and 
dried,  the  pictm-e  can  then  be  colored  still  more 
highly,  if  necessary,  imtil  the  desired  tint  is  ac- 
quired. 

The  colors  which  are  best  adapted  for  this  pur- 
pose are  not  those  commonly  used  for  Daguerreo- 
types. The  following  are  those  which  can  be  ap- 
plied with  the  greatest  facility,  viz. : 

Chinese  Vermillion. 
Chrome  gi-een. 
Chrome  yellow. 
Chinese  blue. 

Purple,  a  mixture  of  Venetian  red  and  blue. 
I 
The  carmine  used  in  the  Daguerreotype  will  not 
adhere  well  to  the  Ambrotype,  and  the  substitu- 


168  COLORING   JEWELRY,    ETC. 

tion  of  Vermillion  has  been  found  to  work  ex- 
ceedingly well,  and  to  render  tlie  flesh  color  quite 
as  natural  as  in  the  use  of  the  carmine  for  the 
Daguerreotype. 

The  coloring  of  jewelry,  &c.,  with  moistened 
gold  colors  can  be  adapted  to  the  collodion.  With 
some  improvement  it  will  not  be  affected  by  the 
black  varnish.  The  gilding  is  seen  distinctly  on 
either  side  of  the  picture ;  yet  by  some  it  is  con- 
sidered as  being  too  conspicuous,  and  therefore 
discarded. 

The  application  of  most  varnishes  to  the  pictures 
after  they  are  colored  has  a  tendency  to  darken  the 
whole  of  the  light  and  shades.  It  will  therefore 
be  necessary  to  make  the  impression  rather  lighter 
than  it  is  desired  to  have  it  when  finished 

Many  operators  put  up  their  portraits  after  color- 
ing, without  applying  the  white  varnish  over  the 
collodion,  merely  blackening  the  reverse  side  with 
black  varnish. 

It  is  not  to  be  supposed  that  they  are  so  durable, 
because  the  silver  is  liable,  after  a  lapse  of  time, 
to  become  affected  by  the  atmosj^here,  and  it  must 
necessarily  change.  All  collodion  pictures  are  of 
course  much  better  protected  by  the  aj)pli cation 
of  varnish. 


AMBROTYPJiS    FOK    LOCKETS.  169 

It  frequently  happens  that  the  liigh  lights  on  the 
hair  of  many  Anibrotype   portraits   are  too   ap- 
parent, producing  what  is  termed  gray  hair.     This ' 
may  be  removed  by  a  simple  process,  as  follows : 

Pi-epare  some  fine  lampblack  by  holding  a 
small  piece  of  glass  over  an  ordinary  lamjj.  A 
black  dejjosit  will  be  formed  of  the  finest  lamp- 
black. This  can  always  be  in  readiness  to  darken 
the  high  lights ;  which  is  effected  by  a  wet  brush, 
with  a  small  portion  of  this  lampblack  laid  on 
where  a  darker  shade  is  required. 

AMBEOTYPES  FOR   LOCKETS. 

Portraits  taken  for  lockets,  breastpins,  and  me- 
dallions, by  the  Daguerreotype  process,  are  easily 
inserted,  but  when  taken  on  glass  they  are  at- 
tended M'ith  much  more  difficulty. 

A  new  and  very  useful  invention  has  been  made 
of  a  kind  of  plate,  well  adapted  for  locket  pic- 
tures. They  are  known  as  the  Melainotype  plates, 
and  are  now  employed  by  most  operators  fjr  these 
kinds  of  pictures.  Being  composed  of  thin  plates 
ofiron,  and  japanned,  they  require  no  application 
of  the  black  varnish,  and  can  be  cut  and  fitted  into 
lockets  with  the  same  facility  as  Daguerreotypes. 

Prepared  paper  is  used  by  some  operators  for 

15 


170  VIKWS    BY    TUE    AMBltOTYPE. 

these  kinds  of  pictures,  and  p:iteiit-leather  has  been 
adopted  by  some.  The  process  of  taking  them  on 
patent-leather  is  given  on  page  155. 

All  these  various  materials  can  be  purchased  of 
the  dealers  in  photographic  materials. 

"FOE  TRANSFERRING  AMBROTYPES  TO  PAPER. 

Gum-shellac 1|  ounce. 

Borax ^  ounce. 

Wuter 8  ounces. 

Dissolve  the  borax  in  the  water  and  add  the 
shellac,  which  will  require  a  slight  degree  of  heat. 

Use  the  black-glazed  paper,  cut  a  little  larger 
than  the  glass  on  which  the  Ambrotype  is  taken. 
Pour  a  portion  of  this  solution  on  the  paper,  and 
allow  it  to  partially  dry ;  then  lay  it  over  the  Am- 
brotype, which  nuist  be  well  dried;  and  place. the 
whole  under  water  for  five  or  ten  minutes,  when 
the  paper  can  be  removed  with  the  picture  upon 
its  surhice.     Diy,  and  it  is  ready  for  use. 

TAKING  VIEWS  BY  THE  AMBROTYPE  PROCESS. 
This  is  the  most  simple  and  easy  process  known 
in  the  art,  because  operators  are  always  sure  of  a 
good  light.  The  utility  of  it  for  taking  views  over 
that  of  the  ordinary  Dagucri-eotype  will  not  be 
(juestioned  when  it  is  known  that  all  objects  ai'e 


COPYING    DAGUERREOTYPES.         '  171 

taken  without  reversing,  and  that,  too,  without  the 
use  of  a  reflector.  The  camera  must  be  used  with 
a  small  opening  diaphragm,  in  order  to  reduce  the 
light,  and  render  the  half  tints  discernible.  Tlie 
bath  must  be  removed  to  some  place  near  the  ob- 
ject to  be  taken,  because  the  plate  will  not  be  sen- 
sitive only  as  long  as  moisture  remains  on  its  sur- 
face. If  many  minutes  should  elapse  after  the 
impression  is  taken,  it  will  be  necessary  to  plunge 
the  plate  into  the  nitrate  bath  for  a  few  seconds 
before  applying  the  developer.  It  will  then  cause 
the  picture  to  appear,  even  if  it  had  been  partially 
dried  on  its  surface.  As  little  time  as  possible 
should  intervene  after  the  impression  is  given  be- 
fore the  developer  is  applied.  All  views  nmst  be 
sealed  up  with  the  black  varnish  applied  to  the 
collodion,  otherwise  they  would  apj)ear  revereed. 

COPYING  DAGUEEREOTYPES  BY  THE  AMBROTYPE 

PROCESS.  ^, 

A."  ■ 

The  durability  of  the  Daguerreotype  has  long 
been  doubted,  yet  many  persons  possess  them 
which  are  in  a  good  state  of  preservation,  although 
taken  ten  or  fifteen  yeare  ago. 

But  this  new  process  of  positive  photographs  on 
glass  possesses  advantages  over  the  Daguerreotype 


172        CHANGING  THE  BACKGROUND. 

that  will  command  the  preference  on  the  score  of 
dm-ability.  As  this  fact  becomes  more  generally 
known,  all  those  persons  who  possess  a  Daguerreo- 
type of  a  departed  friend,  will  hasten  to  the  Am- 
brotype  artist,  and  have  it  reproduced  with  all  the 
durability  which  this  art  possesses.  Unfortunately, 
however,  many  Daguerreotypes  cannot  be  copied 
as  well  by  the  Ambrotype  process,  in  consequence 
of  the  dark  background  generally  adopted,  the 
Ambrotype  requiring  a  white  background  in  order 
to  copy  successfully.  This  difficulty  can  be  over- 
come in  a  great  degree,  and  the  Ambrotype  copy 
produced  with  a  light  background,  having  all  the 
beautiful  effects  so  much  desired  in  this  art. 

The  original  Daguerreotype  must  be  first  copied 
in  the  usual  manner,  with  the  black  background 
apparent,  of  course,  then  dried,  and  the  figure  only 
blackened  over  on  the  reverse  side,  when  a  white 
piece  of  paper  or  pasteboard  must  be  placed  be- 
hind the  glass,  and  a  second  copy  taken  with  the 
white  background  apparent.  The  second  copy 
will  of  couree  be  taken,  possessing  all  requisites  of 
a  good  Ambrotype. 

Many  Daguerreotypes  can  be  improved  by  this 
process,  especially  in  the  appearance  of  the  back- 
ground.   The  necessity  of  a  double  copy  is  re- 


COPYING    ENGRAVINGS,    STATUARY,    ETC.        178 

quired  to  produce  the  Ambrotype  effect,  or  the 
first  copy  may  be  sealed  with  only  the  white  paper 
inserted  for  a  background.  Yet  the  effect  is  not 
so  pleasing,  nor  is  it  so  durable. 

COPYING  ENGRAVINGS,  STATUARY,  MACHINERY, 

ETC. 

Copying  engravings  is  a  very  simple  process,  as 
the  surface  is  always  even,  and  the  objects  easily 
arranged  in  a  favorable  light.  A  small  opening 
diaphragm  can  be  used,  which  will  render  the 
copy  very  distinct  in  its  details,  actually  beautify- 
ing the  engraving  itself. 

In  copying  statuary,  it  will  be  necessary  to  have 
a  darker  background  than  the  plain  white  one  so 
often  used ;  yet  it  need  not  be  entirely  black — a 
dark  blue  or  brown  color  will  answer.  One  having 
a  lighter  centre,  and  darkened  at  the  sides,  would 
produce  a  pleasing  effect. 

In  copying  models  of  machinery,  this  process  is 
of  an  incalculable  utility,  as  it  can  be  readily  seen. 
The  exact  counterpart  can  be  produced  with  a 
perfect  perspective,  and  no  reversal  of  the  object 
copied. 

15" 


CHAPTER   XV. 

ON     THE    MANNER    OF    ARRANGING     THE    LIGHT THE 

FALLING  OF  THE  SAME  ON  THE  DRAPERY USE  OF  A 

DIAPHRAGM LIGHT  ON   THE   EYES USING  SCREENS 

BACKGROUNDS REFLECTORS DIAPHRAGM TIME 

IN   THE   CAMERA OVER-EXPOSURE,    AND  UNDER-DE- 
VELOPING  TAKING   children's    PORTRAITS. 

The  proper  adjustment  of  light  for  Ambrotypes 
is  a  subject  which  demands  the  utmost  care,  and 
is  one  which  is  of  great  importance  to  good  suc- 
cess in  photography.  It  has  been  found,  of  course, 
that  a  skylight  is  much  more  to  be  preferred  than 
any  side-light,  although  a  very  high  side-light  will 
answer  for  the  purpose.  A  skylight  that  is  not 
more  than  ten  or  fifteen  feet  from  the  sitter  in  the 
highest  point,  and  falling  over  in  such  a  manner 
that  the  lowest  portion  of  it  shall  be  five  feet  from 
the  floor,  has  been  found  to  work  well.  It  is  ab- 
solutely requisite  that  there  should  be  a  good 
volume  of  light  on  the  drapery.     This  must  be 


SCREENS    AND    BACKGROUNDS.  175 

Been  in  the  camera,  for  unless  this  is  attained,  the 
drapery  will  appear  undefined. 

By  using  a  diaphragm  with  a  small  opening, 
the  light  becomes  rather  more  diffused — hence  the 
middle  tints  and  the  gradations  of  light  and  shade 
are  more  clearly  seen,  as  well  as  a  more  perfect 
outline  and  sharpness.  In  consequence  of  the 
great  sensitiveness  in  Ambrotyping,  a  diaphragm 
can  be  used  more  frequently  than  in  the  Daguerre 
otype  process.  Of  course  in  a  weak  light  it  can- 
not be  adopted,  neither  can  it  be  used  when  chil- 
dren are  the  subjects. 

ON  SCREENS  AND  BACKGEOUNDS. 

Tliere  are  three  colored  screens  needed  in  an 
ordinary  skylight — viz.,  blue,  white,  and  black — 
the  blue  to  be  used,  in  connection  with  the  white, 
at  the  side  of  the  face,  to  modify  the  intense  white 
that  may  sometimes  fall  on  the  eye;  the  black 
screen  to  be  placed  between  the  sitter,  and  at  a 
considerable  distance  from  him  and  the  lower  por- 
tion of  the  skylight,  to  cut  off  the  large  light  that 
sometimes  falls  on  the  eyes. 

This  light  0)1  the  eyes  is  a  very  important  fea- 
ture in  producing  good  pictures,  and  it  is  one 
which  is  often  neglected.     AVithout  a  round,  dis- 


176  PKEPARmG   BACKGROUNDS. 

tinct  light  falling  npon  eacli  eye,  resembling  a 
small  jpin-head^  there  can  be  no  perfect  picture 
produced.  It  will  therefore  be  necessary  to  so 
alter  and  arrange  the  screens,  and  the  position  of 
the  sitter,  as  to  fulfil  all  these  conditions  before 
the  impression  is  given. 

The  background  for  Ambrotypes  which  has 
come  into  general  use  is  the  wliite  one,  because 
the  effect  is  found  to  be  more  pleasing  when  finish- 
ed up  with  the  black  varnish.  The  intense  white 
is  not  so  aj^parent  after  the  picture  is  finished.  It 
assumes  a  much  darker  hue,  resembling  more 
nearly  the  neutral  tint  of  the  artist.  If  the  film  of 
the  collodion  is  thin,  the  background  will  apj^ear 
still  darker. 

The  background  should  be  made  of  strong  cotton 
cloth,  stretched  on  a  frame  of  a  size  sufiicient  to  be 
taken  in  the  camera,  wdthout  showing  either  side 
when  taking  groups.    . 

An  improvement  can  easily  be  made  by  coloring 
or  whitewashing  it  with  j)ure  whitii^^  mixed  with 
water,  in  which  a  small  quantity  of  glue  has  been 
dissolved.  Two  coats  of  this  whitewash  will  ren- 
der it  a  i^erfectly  dead  surface,  w^hich  is  better 
adapted  for  the  purpose  than  plain  cotton  cloth,  al- 
though many  operators  use  only  the  white  cotton 


DEFINING   THE   DRAPERY.  177 

cloth  well  bleached.     As  much  distance  as  possi-- 
ble  behind  the  sitter  is  recommended ;  even  five  or 
six  feet,  when  it  can  be  attained,  will  produce  the 
best  effects. 

Other  backgrounds  than  white  are  frequently 
employed.  Blue,  brown,  and  a  light  yellow  pro- 
duce very  excellent  impressions,  if  a  good  distance 
is  obtained,  and  a  strong  light  falls  on  it  at  the 
same  time. 

The  light  being  well  adjusted,  and  a  goodi  focus 
obtained  as  well  as  position,  the  time  necessary 
for  the  exposure  of  the  plate  will  of  course  vary 
according  to  the  many  conditions  under  which  it 
is  taken.  The  time  will  be  entirely  a  matter  of 
experiment,  but  it  has  been  found  by  all  success- 
ful ambrotypers  that  an  over-exposure  in  the 
camera,  combined  with  a  short  time  in  develop- 
ing, will  produce  the  most  satisfactory  results. 
Tlie  pictures  will  assume  a  much  more  desirable 
tone.  The  drapery  will  be  well  defined,  and  the 
general  effect  much  improved  by  pursuing  this 
course.  It  is  only  when  children  are  to  be  taken 
that  operators  can  develop  slowly.  The  rule  to  be 
observed  in  children's  portraits  is,  to  sit  as  long  as 
they  will  without  moving,  then  develop  until  the 
picture  appears.    The  tone  is  never  so  desirable 


178  APPLYING   THE    WATEE, 

but  the  likeness  will  be  there,  which  is  often  prized 
by  the  parents  more  than  the  most  splendid  pro- 
ductions of  the  artist. 

In  developing,  it  may  sometimes  become  neces- 
sary to  arrest  the  process  on  the  face,  allowing  it 
to  continue  on  the  drapery.  This  can  be  eflPected 
by  j)ouring  the  water  slowly  on  the  face,  and  grad- 
ually extending  it  over  the  whole  picture.  Yery 
frequently  beautiful  effects  can  be  produced  by 
this  means  of  manipulatina:. 


CHAPTER  XVI. 

ALCOHOLIC    SOLUTIONS    FOE   PEEPARIKG    COLLODION 

IODIDE    OF   SILVER    SOLUTION BROMIDE    OF    SILVER 

SOLUTION BROMO-IODIDE    OF     SILVER    SOLUTION — • 

SATURATED   SOLUTION    OF    IODIDE    OF   POTASSIUM   IN 

ALCOHOL OF    BROMIDE    OF    POTASSIUM TO    MAKE 

HTDRO-BROMIC    ACID. 

The  references  made  in  a  former  portion  of  this 
work  to  the  manufacture  of  collodion  will  now  be 
given. 

All  the  recipes  here  presented  are  highly  rec- 
ommended. All  these  collodions  will  work,  and 
work  well,  if  the  proper  nitrate  baths  are  used  in 
connection  with  them.  But  it  may  be  found  that 
many  of  them  will  fail  at  the  first  trial,  yet  if  a 
difierent  modification  of  the  bath  is  adopted,  they 
will  work  successfully. 

The  general  rule  laid  down  by  the  most  expe- 
rienced photographers  is,  that  if  a  collodion  is 
heavily  iodized,  it  will  require  a  larger  quantity 
of  silver  in  the  nitrate  bath,  and,  vice  versa^  a 


180  keiin's  ambkotype  collodion. 

lightly  iodized  collodion  will  work  with  a  bath  of 
a  less  quantity  of  silver. 

The  formula  given  in  the  chaj)ter  on  manipiila- 
ting,  page  ISO,  is  one  which  is  said  to  be  nsed  by 
Rehn,  of  Philadel2:)hia.  It  certainly  will  produce 
very  pleasing  effects,  and  if  cai-e  is  had  in  com- 
pounding, it  cannot  fail  of  absolute  success. 

Tlie  preparation  of  all  collodions,  however,  is 
unavoidably  attended  with  diverse  results,  from 
the  great  liability  of  some  one  of  the  ingredients 
being  of  an  inferior  quality.  Nor  can  one  be  fully 
assured  of  success  until  the  collodion  is  made  and 
allowed  to  settle  two  or  thi-ee  days,  and  a  trial  had 
of  the  same. 

This  will  necessarily  consume  much  time,  and 
also  cause  disappointment.  It  is  therefore  sug- 
gested that,  when  convenient,  the  collodion  which 
has  already  been  tested  by  an  experienced  operatoi 
and  maker  should  be  used. 

Here  follow  the  various  recipes  for  collodions, 
and  the  baths  which  are  necessary  to  accompany 
them. 

RehrHs  celebrated  Recipe  for  Ambrotype  Collodion. 

No.  1.     Collodion 8  ounces. 

Iodide  of  silver    .         .         .         .4  drachms. 
Hjdi-Q-bromic  acid      ...      20  drops. 


COLLODION    RECIPES. 


181 


This  collodion  requires  40  grains  of  nitrate  of 
silver  to  the  ounce,  with  the  usual  developer. 


"N'o.  2.     Collodion     .... 
Bromo-iodide  of  silver 
Hydro-bromic  acid 

Bath  of  40  grains  to  the  ounce. 


8  ounces. 
6  drachms. 
25  drops 


Cutting's  celebrated  Patent  Recipe  for  Ambrotype 
Collodion. 
No.  3.     Collodion    . 
Gum  camphor 
Iodide  of  potassium 

30-grain  nitrate  bath. 

"N'o.  4.     Collodion     . 

Iodide  of  potassium 
Iodide  of  silver  solution 
Iodide  of  ammonia 
Iodine,  pure 

30-grain  nitrate  bath. 

No.  5.     Collodion     . 

Iodide  of  potassium 
Bromide  of  potassium 

Nitrate  bath  30  grains  to  the  ounce  of  water. 

No.  6.     Collodion     .         .         .         .         . 
Iodide  of  potassium 
Bromide  of  potassium  . 
Saturated  solution  of  iodide  of  po- )  on  droDS 
tassium  in  alcohol  f 

Nitrate  bath  of  30  grains. 

16 


1 

ounce. 

1 

grain. 

5 

grains. 

6 

ounces. 

25 

grains. 

2  drachms 

5 

grains. 

1 

grain. 

17 

ounces. 

40 

grains. 

40 

grains. 

>f  water. 

4 

ounces. 

12 

grains. 

16 

grains. 

)     2  ALCOHOLIC   SOLUTIONS. 

^o.  7.     Collodion     .        .        .        .        .        6  ounces. 
Iodide  of  silver  solution       .         .         1  drachm. 

Hydro-bromic  acid      ...  18  drops. 
Bromide  of  potassium  ...         5  grains. 
Iodide  of  potassium      ,         .         .15  grains. 

Saturated  solution  of  iodide  of  po-)  ^i^  draohmq 
tassiura  in  alcohol                         j     ^ 

40  grains  in  the  nitrate  batli. 

Veri/  sensitive  Collodion  for  Children. 

No.  8.     Collodion 8  ounces. 

Iodide  of  ammonia       ...      40  gi-ains. 
Bromide  of  ammonia   .         .         .       16  grains. 

40  or  60  grain  bath. 

ALCOHOLIC  SOLUTIONS  FOR  PREPARING 
COLLODION. 

These  solutions  are  to  be  prepared  and  allowed 
to  remain  several  hours  before  using,  and  kept  ex- 
cluded from  the  light.  When  thej  are  added  to 
the  collodion,  they  must  always  be  perfectly  clear 
and  transparent,  nor  must  any  portion  of  the  pre- 
cij)itate  which  is  seen  at  the  bottom  of  the  prepar- 
ation fall  into  the  collodion. 

It  is  recommended  to  prepare  all  these  solutions 
some  days  even  before  they  are  needed,  in  order 
that  the  alcohol  and  potassium  shall  dissolve  a 
gi'eater  proportion  of  the  iodides  or  bromides  of 
Bilver.     The  greater  the  proj)ortion  of  silver  taken 


IODIDE   OF  SILVER   SOLUTION.  183 

Up,  the  better  cliemical  effect  will  be  produced  in 
the  collodion.  These  various  preparations  are  the 
most  difficult  portion  to  be  made  in  manufacturing 
the  collodion,  and  require  the  greatest  care  and 
attention. 

IODIDE  OF  SILVER  SOLUTION. 

Dissolve  80  grains  of  iodide  of  potassium  in  4 
ounces  of  water,  and  120  grains  of  nitrate  of  silver 
in  the  same  quantity,  but  in  a  separate  bottle. 
(This  i^rocess  must  not  be  conducted  in  a  strong 
daylight,  but  in  one  greatly  subdued,  or  in  a  dark 
room  by  the  light  of  a  lamp.)  Then  pour  them 
together  in  a  large  graduated  dish,  or  an  open  glass 
vessel,  when  a  yellow  precipitate  will  be  formed. 
This  is  pure  iodide  of  silver.  Wash  this  precipi- 
tate with  water  three  times,  allowing  it  to  settle  a 
few  minutes,  and  decant  or  pour  the  water  off. 
Then  wash  it  with  alcohol  twice,  to  displace  the 
water,  pouring  it  off.  and  leaving  the  iodide  of 
silver  in  the  dish.  This  must  now  be  placed  in  a 
glass-stoppered  bottle  that  will  hold  ten  or  twelve 
ounces.  Dissolve  the  iodide  of  silver  in  eight 
ounces  of  alcohol,  80  per  cent.,  in  which  has  been 
satm'ated  one  ounce  of  iodide  of  potassium,  as  fol- 
lows : 


184  BEOMIDE   OF  SILVER   SOLUTION. 

Pulverize  the  ounce  of  iodide  of  potassium  in  a 
clean  porcelain  mortar,  and  add  one  or  two  ounces 
of  alcohol  from  the  eight  ounces  which  is  to  be 
measured  out  for  the  iodide  of  silver  solvent.  Stir 
with  a  jDCstle  the  alcohol  in  the  potassium,  and  a 
small  portion  will  be  taken  up  or  dissolved.  This 
must  now  be  poured  into  the  bottle  which  contains 
the  w^ashed  iodide  of  silver.  Then  proceed  in  the 
same  manner,  adding  two  ounces  more  of  the  al- 
cohol, stirring  it  well,  and  pouring  into  the  bottle 
as  much  as  will  dissolve,  until  the  whole  eight 
ounces  are  added.  There  may  be  a  portion  of  the 
iodide  of  potassium  in  the  mortar  not  dissolved ; 
this  can  also  be  added  to  the  iodide  of  silver. 
After  shaking  it,  allow  it  to  stand  and  settle  per- 
fectly clear,  when  it  will  be  ready  for  use. 

BROMIDE  OF  SILVER  SOLUTION". 

Bromide  of  potassium        ...         80  grains. 
Nitrate  of  silver         ....         80  grains. 

Dissolve  separately  in  four  ounces  of  water; 
then  mix  it,  when  the  bromide  of  silver  is  formed, 
and  is  seen  in  a  precipitate  at  the  bottom  of  the 
dish.  Wash  this  precipitate  with  water  three 
times,  allowing  it  to  settle  a  few  minutes,  and  de- 
cant or  pour  the  water  off.     Then  wash  it  with 


BEOMO-IODIDE    OF   sAvKR    SOLUTION.  185 

alcohol  twice,  to  displace  the  water,  pouring  it 
off,  leaving  the  bromide  of  silver  in  the  dish. 
This  must  now  be  j^laced  in  a  glass-stoppered  bot- 
tle that  will  hold  ten  or  twelve  ounces.  Dissolve 
the  bromide  of  silver  in  eight  ounces  of  alcohol, 
80  per  cent,  in  which  has  been  saturated  one  ounce 
of  bromide  of  potassiiun.  ' 

Pulverize  the  ounce  of  bromide  of  potassium  in 
a  clean  porcelain  mortar,  and  add  one  or  two 
ounces  of  alcohol  from  the  eight  ounces  which  are 
to  be  measured  out  for  the  bromide  of  silver  sol- 
vent. With  the  pestle  stir  the  alcohol  in  the 
potassium,  and  a  small  portion  will  be  taken  up 
or  dissolved.  This  must  now  be  poured  into 
the  bottle  which  contains  the  washed  bromide  of 
silver.  Then  proceed  in  the  same  manner,  adding 
two  ounces  more  of  the  alcohol,  stirring  it  well, 
and  pouring  into  the  bottle  as  much  as  will  dis- 
solve, until  the  whole  eight  ounces  are  added. 

BEOMO-IODIDE  OF  SILVER  SOLUTION. 

Dissolve  separately  in  four  ounces  of  water — 

Bromide  of  potassium        ...         80  grains. 
Nitrate  of  silver        ....         80  grains. 

Tlien  mix  and  wash  out  with  water  three  times, 
and  with  alcohol  twice.    Then  pulverize  one  ounce 


16 


■5f 


186         IODIDE  OF  potIssium  in  alcohol. 

of  iodide  of  potassium,  and  dissolve  in  eight  ounces 
of  alcohol,  precisely  in  the  same  manner  as  de- 
scribed in  the  alcoholic  solution  of  iodide  of  silver. 

These  various  solutions  of  silver,  and  iodides 
and  bromides,  are  deemed  very  essential  to  success 
in  ambrotyping.  If  they  are  prepared  with  care 
and  attention,  none  can  fail  of  success  in  making 
good  collodion. 

They  should  be  kept  as  much  from  the  light  as 
possible,  and  always  in  glass-stoppered  bottles  well 
filled,  to  prevent  evaporation. 

SATUEATED  SOLUTION  OF  IODIDE  OF  POTASSIUM 
IN  ALCOHOL. 

Pulverize  one  ounce  of  iodide  of  potassium  in  a 
mortar,  and  add  three  ounces  of  SO  per  cent,  alco- 
hol, stirring  it  for  some  minutes,  and  then  allow- 
ing it  to  settle.  Pour  off  the  clear  liquid  into  a 
bottle,  and  add  a  smaller  quantity  of  alcohol,  stir- 
ring this  also  in  the  same  manner,  and  pouring  off 
the  clear  solution  into  the  bottle.  Continue  to  add 
each  time  a  smaller  quantity  of  alcohol,  until  all 
the  potassium  is  dissolved. 


BKOMIDE   OF   POTASSIUM   IN    ALCOHOL.  187 


SATUEATED  SOLUTION  OF  BROMIDE  OF 
POTASSIUM  IN  ALCOHOL. 

Pulverize  one  ounce  of  bromide  of  potassium  in 
a  mortar,  as  described  in  the  preparation  of  iodide 
of  potassium  above,  adding  alcohol,  80  per  cent., 
in  the  same  manner,  until  it  is  all  dissolved. 

These  saturated  solutions  will  be  found  very  use- 
ful to  add  to  collodions  that  will  not  work  well,  or 
if  the  film  is  not  of  sufficient  thickness  on  with- 
drawal from  the  bath.  By  adding  a  small  quantity 
of  each  of  these  saturated  solutions,  any  desired 
effect  can  be  produced. 

They  also  enter  in  the  properties  of  some  of  the 
collodion  recij)es  given  in  this  work. 

The  quantity  of  each  saturated  solution  used,  is 
for  bromide  of  potassium  just  one  half  as  much  as 
of  the  iodide  of  potassium — that  is  to  say,  if  one 
drachm  of  iodide  is  used,  one  half  drachm  of  the 
bromide  would  be  sufiicient. 

TO  MAKE  THE  HYDRO-BROMIC  ACID. 

Alcohol  (95  per  cent.)         ...        4  ounces. 
.  Water  (distilled)         ....         1  ounce. 

To  tliis  is  added  one  drachm  of  pure  bromine, — 
then  shaken  quickly,  and  allowed  to  remain  for 


188  TO    MAKE    HYDKO  BROMIC    ACID, 

twenty-four  hours.  It  will  assume  at  first  a  deep 
cherry-red  color,  but  afterwards  it  will  become 
clear  again.  Every  twenty-four  hours  there  must 
be  added,  say,  five  or  six  drops  more  of  bromine, 
and  continued  for  a  week  or  ten  days,  adding  a 
few  drops  every  day,  when  it  will  be  ready  for  use. 
It  will  eventually  assume  nearly  a  white  trans- 
parent color,  slightly  inclined  to  yellow. 

This  preparation  is  highly  sensitive 'to  light,  and 
must  be  kept  in  a  perfectly  air-tight  bottle,  and 
not  exposed  to  the  light  of  day. 


CHAPTER  XVll. 

PREPARATION  OF  THE  VARNISHES WHITE  COPAL  VAR- 
NISH  GUM-DEMAR     VARNISH BLACK     ASPHALTtJM 

VARNISH WHITE  VARNISH  OF  SHELLAC  AND  COPAL 

THICKENED    VARNISH    FOR    CEMENTING    GLASSES, 

IN  PLACE  OF  CANADA  BALSAM GUM-SHELLAC  VAR- 
NISH FOR  PLATE-HOLDERS APPLYING  THE  VAR- 
NISHES. 

These  varnishes  for  Ambrotypes  are  somewliat 
difficult  to  prepare,  and  likely  .to  soil  the  hands  in 
their  manufacture.  It  is  well,  therefore,  to  pur- 
chase them  ready  for  use,  thereby  saving  much 
trouble.  However,  a  few  recipes  will  be  given  for 
those  who  wish  to  manufacture  their  own. 

WHITE  COPAL. 

Select  the  whitest  j)ortions  of  white  copal  gum, 
and  dissolve,  say,  one  ounce  in  two  ounces  of  tur- 
pentine. The  coj^al  is  fii'st  to  be  pulverized,  and 
added  to  the  turpentine,  and  allowed  to  dissolve. 
If  the  varnish  is  too  thick  for  use,  add  more  tur- 
pentine. • 


ii>l'  BLACK    VAKNISH. 

4 

GUM-DEMAR  VAENISH. 

Gum-demar i  ounce. 

Chloroform 2  ounces. 

These  must  be  allowed  to  stand  after  shaking 
for  two  or  three  days,  until  the  gum  is  all  dissolved, 
then  decanted  off  into  a  separate  bottle,  avoiding 
the  sediment  at  the  bottom. 

This  varnish  is  highly  recommended  for  using 
on  collodion  jjictures  that  have  been  colored.  By 
pouring  this  carefully  over,  it  will  not  disturb  the 
color,  and  it  dries  readily,  nor  is  it  so  liable  to 
change  by  the  action  of  light. 

BLACK  ASPHALTUM  VARmSH. 
Asphaltum,  pulverized         ...         1  ounce. 

Adding  spirits  of  turpentine,  and  stirring  it  well  in 
a  mortar,  until  all  is  dissolved.  Any  consistency 
can  be  had  which  is  desired,  by  adding  more  or 
less  of  the  turpentine.  A  portion  of  the  asphaltum 
may  not  dissolve  ;  this  can  be  left  in  the  bottom  of 
the  mortar,  and  rejected  entirely. 

WHITE  VARNISH  OF  SHELLAC  AND  COPAL. 


Alcohol,  95  per  cent. 

New  Zealand  gum      .... 

1  ounce. 

Gum-shellac 

),  ounce. 

Gum- copal 

i  ounce. 

GUM-SHKLLAC    VAKNISH.  191 

Add  sufficient  alcohol  to  these  three  gums  to 
dissolve  them  in  a  mortar,  and  a  transparent  var- 
nish is  obtained,  of  su]3erior  quality. 

THICK    WHITE    VARNISHES    FOR    OEMENTIITG 

GLASSES  WITHOUT  THE  USE  OF  CANADA 

BALSAM. 

Gum-copal  pulverized  in  a  mortar,  adding 
spirits  of  tui-pentine  gradually,  but  only  enough 
to  dissolve  it  to  form  a  consistency  of  Venice 
turpentine,  or  balsam  of  fir,  produces  the  finest 
efiect  on  the  application  of  the  two  glasses. 
GUM-SHELLAC  VARNISH  FOR  PLATE-HOLDERS. 

Dissolve  sufficient  of  gum-shellac  in  95  per  cent, 
alcohol  to  render  it  the  consistency  of  cream. 

This  varnish  should  be  always  on  hand  ready 
for  use,  to  varnish  over  the  photographic  frames  or 
plate-holders,  as  the  action  of  the  acid  in  the  bath 
will  cause  the  glasses  in  the  corner  to  become 
loosened.  By  applying  this  simple  varnish  with 
a  brush,  the  glasses  will  remain  in  their  places, 
and.  prevent  the  action  of  the  nitrate  of  silver. 
The  proper  time  to  apply  this  varnish  is  in  the 
afternoon,  after  the  plate-holders  are  laid  aside, 
because  it  will  require  some  time  for  them  to  dry. 


192  APPLYING   THE   VAENISHES. 

Before  applying  tlie  varnish,  be  careful  to  remove 
all  moisture  from  the  holders,  and  varnish  all  that 
portion  of  the  plate-holders  that  is  subject  to  being 
wetted  bj  the  solution  of  the  nitrate  bath. 

APPLYING  THE  VARNISHES. 

The  white  varnishes  are  always  applied  in  the 
same  manner  as  the  collodion — viz.,  by  pouring  it 
on  the  surface,  and  allowing  it  to  run  off  at  one 
corner  into  the  bottle.  It  is  necessary  in  applying 
most  white  varnishes  that  the  glass  plate  should  be 
slightly  warmed,  either  by  the  fire  or  spirit-lamp, 
avoiding  all  dust  or  moisture.  To  entirely  remove 
the  dirty  particles,  it  will  be  proper  to  filter  the 
varnish  through  a  thin  white  linen  or  cotton  cloth. 

The  black  varnish  can  be  applied  in  the  same 
manner.  It  may  be  dried  very  quickly  by  placing 
it  near  a  gentle  heat,  or  laying  it  in  the  sun.  Of 
course  it  must  be  laid  in  a  perfectly  horizontal 
position.  X 

A  soft  camel's-hair  brush  may  be  used  to  apply 

the  black  varnish ;  and  if  it  is  applied  thin,  it  will 

dry  in  much  less  time.     A  second  application  of 

.the  varnish  can  be  made,  should  the  first  not  prove 

intense  enough. 

For  protection,  it  is  well  to  place  a  piece  of 


PROTECTUSTG    THE    VARNISH.  193 

pasteboard  (which  has  been  previously  blackened 
with  the  black  varnish  apd  dried)  on  the  back  of 
the  glass,  with  the  blackened  side  towards  the 
varnish.  This  insures  a  perfect  black  on  the  col- 
lodion, even  if  the  varnish  is  very  thin ;  and  if  held 
by  transmitted  light,  it  would  have  a  brownish 
appearance.  It  likewise  affords  a  protection  to  the 
glass,  avoiding  breakage  in  case  the  picture  falls 
to  the  ground. 

Some  operators  have  adopted  the  black-glazed 
paper.  Tliis  presents  too  high  polish  for  good 
effects,  and  will  sometimes  be  seen  through  the 
varnish.  A  perfectly  deadened  surface  of  black 
is  required  to  produce  the  effect.  Black  cotton 
velvet  answers  the  purpose,  and,  as  will  be  seen, 
has  been  adopted  in  all  the  transparent  cases  used 
for  Ambrotyi^es.  Cases  lined  with  black  velvet 
are  being  adopted  for  these  pictures. 

17 


CHAPTER  XVIII. 

CAUSES    OF  FAILURE   IN   THE  PRACTICE   OF  THE  ART- 
FOGGING    THE   PICTURES TO   DETECT    THE   FOGGING 

OF    PLATES BLACK    AND     WHITE     SPECKS    ON    THE 

PLATES TRANSPARENT     AND     OPAQUE     SPOTS IM- 
PURITY    OF     CHEMICALS SPOTS     OR     STREAKS     ON 

THE   GLASS   PLATES. 

The  process  is  so  full  of  variations  in  the  details 
of  practice,  and  the  chemicals  are  so  liable  to  be 
affected  bj  the  slightest  change,  that  many  who 
are  induced  to  adopt  this  art  meet  with  difficulties 
in  great  abundance. 

Failures  in  the  art  were  formerly  considered  a 
general  rule,  and  a  matter  of  certainty,  while  good 
pictures  were  regarded  as  fortunate  exceptions. 
"We  have,  however,  progressed  so  far,  that  this 
state  of  things  has  not  been  encountered  in  the 
practice  of  late  years,  and  we  are  now  enabled  to 
proceed  with  some  degree  of  certainty. 

Nevertheless,  the  art  is  not  yet  perfect,  and 


FOGGING   THE   PICTUKE.  195 

failures  will  meet  the  early  practitioner  at  the 
threshold  of  his  profession,  and  perhaps  intimidate 
his  too  confident  expectations  of  success. 

The  various  causes  of  failui-es  will  be  explained 
in  as  clear  and  lucid  a  manner  as  possible ;  jet 
there  may  be  some  causes  overlooked  which  may 
occur  to  others  that  have  not  been  observed.  "We 
are  indebted  to  Mr.  Hardwich,  of  London,  for 
much  information  on  this  subject,  and  it  is  hoped 
the  author  will  not  be  deemed  presumptuous  if  he 
profits  by  the  experience  of  that  ablest  of  photo- 
graphers of  the  present  day. 

FOGGING  THE  PICTURE. 

The  "  fogging,"  as  it  is  termed,  will  most  fre- 
quently occur  from  a  too  careless  exclusion  of 
light.  The  liability  to  this  failure  is  obvious,  for 
the  slightest  trace  of  white  daylight  falling  upon 
the  plate  will  surely  cause  fogging.  It  will  there- 
fore be  highly  important  to  guard  against  this  oft 
recurring  obstacle. 

Fogging  is  sometimes  attributable  to  weak  col- 
lodion, or  to  a  bath  too  weak,  and  sometimes  to 
over-developing.  In  order  to  detect  the  ultimate 
cause  of  this  failure,  when  it  occurs,  a  series  of  ex- 
periments may  be  made  as  follows : 


196  TO    DETECT    FOGGING. 


PLAN"   OF   PEOCEEDmG    IN   OEDEPv   TO   DETECT 
THE  CAUSE  OF  THE  FOGGING. 

If  the  operator  has  had  but  little  experience  in 
the  collodion  process,  and  is  using  good  Arnbro- 
tjpe  collodion  of  great  sensitiveness  in  a  new 
bath,  the  probability  is  that  the  cause  of  fogging 
will  be  over-exposure.  Having  obviated  this, 
which  can  easily  be  done  by  shortening  the  time, 
proceed  to  test  the  bath,  and  add  sufficient  acetic 
or  nitric  acid  to  give  a  faint  acid  reaction  to  test- 
paper. 

Next  prepare  a  plate  as  usual,  and  immediately 
on  its  removal  from  the  bath,  pour  on  the  devel- 
oper :  after  a  few  seconds  wash,  fix,  and  bring  it 
out  to  the  light.  If  any  mistiness  is  perceptible, 
the  developing  room  is  in  fault. 

On  the  other  hand,  if  the  plate  remains  abso- 
lutely clear  under  these  circumstances,  it  is  possi- 
hle  that  the  cause  of  error  may  he  in  the  camera. 
Prepare  another  plate,  place  it  in  the  camera,  and 
proceed  exactly  as  if  taking  a  picture,  neglecting, 
however,  to  expose  the  plate  to  the  action  of  light. 
Allow  it  to  remain  for  two  or  three  minutes,  and 
then  remove  and  develop  as  usual. 

If  no  indication  of  the   cause   of  fogging  be 


SPECKS  UPON  THE  PLATES.         197 

obtained  by  either  of  these  ways,  there  is  every 
reason  to  suj)pose  that  it  is  due  to  diffused  light 
gaining  entrance  through  the  lenses,  or  some  por- 
tion of  the  camera  box. 

BLACK  AND  WHITE  SPECKS  UPON"  THE  PLATE. 
Opaque  or  transparent  dots,  thickly   studding 
every  part  of  the  plate,  are  produced  by  the  fol- 
lowing causes : 

1.  The  use  of  collodion  containing  floating  par- 
ticles.— Each  particle  becomes  a  centre  of  chemi- 
cal action,  and  produces  a  speck  or  black  spot. 

Collodion  should  never  be  employed  imme- 
diately after  mixing,  but  placed  aside  to  settle  for 
several  hours,  after  which  the  upper  portion  may 
be  poured  off  for  use.  This  is  especially  necessary 
when  the  double  iodide  of  potassium  and  silver  is 
employed :  the  salt  is  decomj)Osed  to  a  certain  ex- 
tent by  dilution.^  and  small  particles  of  iodide  of 
silver  separate,  which  eventually  settle  to  the  bot- 
tom of  the  bottle. 

2.  Dust  upon  the  surface  of  the  glass  at  the  time 
of  pouring  on  the  collodion. — Thoroughly  cleaned 
glasses,  if  set  aside  for  a  few  minutes,  accumulate 
small  particles  of  dust.  Each  plate,  therefore, 
should  be  gently  wiped  with  a  silk  handkerchief, 

17* 


198  TRANSPARENT   SPOTS. 

or  a  buckskin  buff  made  in  the  form  of  a  ball,  im- 
mediately before  being  used,  and  lastly  dusted 
with  a  camel's-hair  brush. 

3.  Where  an  inferior  kind  of  glass  is  used. — 
The  surface  of  an  inferior  quality  of  glass  is  ofteiv 
times  roughed  and  studded  with  minute  specks. 
Occasionally  these  can  be  removed  by  means  of 
diluted  acid. 

TKANSPARENT  AND  OPAQUE  SPOTS. 

Spots  are  of  two  kinds — spots  of  opacity^  which 
appear  yiach  when  seen  by  transmitted  light,  and 
white  by  reflected  light,  and  spots  of  transparency^ 
the  reverse  of  the  others,  being  white  wdien  seen 
on  negatives,  and  black  on  positives. 

Opaque  spots  are  referable  to  an  excess  of  devel- 
opment at  the  point  where  the  spot  is  seen.  They 
may  be  caused  by — 

1.  The  nitrate  solution  heing  turhid.,  or  from 
flakes  of  iodide  of  silver  having  fallen  away  into 
the  solution  by  use  of  an  over-iodized  collodion ; 
from  a  deposit  formed  by  degrees  upon  the  sides 
of  the  gutta  percha  trough  ;  from  the  inside  of  the 
trough  being  dusty  at  the  time  of  pouring  in  the 
solution.  In  order  to  obviate  these  inconveniences, 
it  is  well  to  make  at  least  half  as  much  again  of 


FAULTS    m    THE   PLAl-E-UOLDEE.  199 

the  niti'ate  solution  as  is  necessary,  and  to  keep  it 
in  the  large  bottle,  from  which  the  npper  part  may 
be  ponred  off  as  it  is  required. 

2.  Faults  171  the  plate-holder. — Sometimes  a 
small  hole  exists  in  the  slide,  which  admits  a  pen- 
cil of  light,  and  produces  a  spot  known  by  its 
being  always  in  the  same  place.  Occasionally  the 
door  works  too  tightly,  so  that  small  particles  of 
wood,  (fee,  are  scraped  off  and  projected  against 
the  plate  when  it  is  raised ;  or  perhaps  the  opera- 
tor, after  the  exposure  is  finished,  shuts  down  the 
slide  too  quickly,  and  causes  a  sj)lash  in  the  liquid, 
which  has  drained  down  and  accumulated  in  the 
groove  below.  This  cause,  although  not  a  com- 
mon one,  may  sometimes  occur. 

Spots  of  transparency  are  produced  in  a  man- 
ner altogether  different  from  that  of  the  others. 

1.  They  may  generally  be  traced  to  some  cause 
which  renders  the  iodide  of  silver  insensitive  to 
light  at  that  particular  point.,  so  that  on  the  ap- 
plication of  the  developer  no  reduction  takes  place. 

2.  Concentration  of  the  nitrate  of  silver  on  the 
surface  of  the  film  hy  evaporation. — When  the  film 
becomes  too  dry  after  removal  from  the  batli,  tlie 
solvent  power  of  the  nitrate  increases  so  much  that 
it  is  apt  to  eat  away  the  iodide,  and  produce  spots. 


200  IMPURITY    OF   CHEMICALS. 

3.  By  raising  the  jplate  off  tlie  nitrate  Itath  too 
quickly  after  its  first  immersion. 

4.  By  pouring  on  the  develojper  entirely  on  one 
portion  of  the  jplate^  by  which  the  nitrate  of  silver 
is  washed  away,  and  the  development  prevented. 

5.  By  use  of  glasses  improperly  cleaned. — Tliis 
cause  is  perhaps  the  most  frequent  of  all.  Great 
care  should  therefore  be  observed  in  cleaning  the 
glasses,  and  in  keeping  them  in  good  order,  and 
in  readiness  for  the  collodion. 

IMPURITY  OF  CHEMICALS,  ETC. 

Chemicals  ai"e  so  liable  to  be  of  inferior  quality, 
that  this  cause  of  failure  is  indeed  one  that  appears 
almost  insurmountable ;-  yet,  although  a  great  diffi- 
culty here  presents  itself,  there  is  a.  possibility  of 
obtaining  good  material,  and  they  should  be  sought 
till  they  are  found. 

The  vapors  of  ammonia  or  bromine,  or  even 
iodine,  will  cause  the  plate  to  become  covered 
with  spots  or  stains. 

SPOTS  OR  STREAKS,  ETC. 

Spots  or  streaks  which  are  yet  black,  coming 
from  the  corner  where  the  plate  is  held  by  the  fin- 
gers, are  caused  by  hyposulphite  or  cyanide  of 


STREAKS   IN   COLLODION.  201 

potassium  in  some  manner  running  from  the  hand. 
Streaks  that  are  parallel,  running  up  and  down  the 
'plate,  are  caused  by  the  dust  floating  in  the  bath 
at  the  time  of  immersion. 

Streaks  which  lie  in  the  bed  of  the  collodion, 
looking  like  rivers  laid  down  on  a  map,  are  caused 
by  not  washing  the  plate  sufiiciently  after  the  de- 
veloping solution  has  been  applied. 

Streaks  or  lines  resembling  miislin,  and  streaks 
which  have  a  cloudy  appearance,  occur  when  the 
collodion  is  thicker  on  some  portion  of  the  plate 
than  on  another.  The  streaks  resembling  leaves 
are  also  due  to  the  same  cause.  If  there  is  not  a 
>!ufiicient  quantity  of  acetic  acid  in  the  developer, 
it  will  not  flow  evenly  over  the  plate,  and  will  in- 
variably cause  streaks. 


CHAPTER    XII. 

CAUTIONS     WITH     REGARD     TO      USING     THE     VARIOUS 

CHEMICAL  SUBSTANCES  IN  MAKING  GUN-COTTON USE 

OF     ETHER     AND     ALCOHOL USE     OF    CYANIDE     OF 

POTASSIUM NITRATE    OF    SILVER — CLEANING     THE 

HANDS SOLUTION     FOR     CLEANING     THE     HANDS 

HINTS  ON  THE  VARIOUS  PROCESSES  CONNECTED 
"WITH  POSITIVES  AND  NEGATIVES — TO  RENDER  COL- 
LODION HIGHLY  SENSITIVE THE  LAMPRATYPE  PRO 

CESS, 

In  the  practice  of  the  photographic  art,  great 
caution  is  necessary  to  be  observed  in  regard  to 
the  various  chemicals  employed. 

By  a  singular  coincidence  of  circumstances,  very 
many  of  the  chemicals  are  combustible,  and  are 
indeed  of  a  very  explosive  nature,  while  those 
which  are  not  inflammable  are  poisonous.  It  will 
therefore  be  the  wish  of  every  operator  to  avoid 
accidents,  as  they  are  always  liable  to  occur  un- 
less they  are  carefully  guarded  against. 

In  preparing  gun-cotton,  the  vapors  arising  from 
the  combination  of  the  acid  and  nitrate  of  potash 


DRYING   GTJN-COTTON.  203 

were  very  deleterious,  if  inhaled,  as  they  are  liable 
to  be,  because  it  is  necessary  to  stir  the  cotton  dur- 
ing the  whole  time  of  immersion.  Always  ]3re- 
pare  it  in  the  open  air,  or  where  a  free  circulation 
of  it  may  be  obtained. 

When  the  cotton  is  drying,  avoid  any  contact  of 
iire,  or  an  approach  to  the  fire,  for  it  explodes  at 
the  temperature  of  370°  Fahrenheit,  while  gun- 
powder requires  500°.  If  gun-cotton  is  kept  a 
long  time  in  large  quantities,  spontaneous  combus- 
tion may  ensue,  if  any  moisture  comes  in  contact 
with  it. 

In  using  ether  and  alcohol,  be  careful  to  remove 
the  lamj)  to  a  great  distance  from  it.  In  pouring 
the  collodion  on  the  plate,  one  is  very  liable  to 
accident,  for  the  vapors  of  ether  are  rapidly  pass- 
ing off.  They  will  ignite  even  if  the  lamp  is  within 
one  or  two  feet  of  the  bottle.  Coat  the  plates  by 
the  light  of  day,  if  possible,  thereby  avoiding  the 
possibility  of  combustion  of  the  collodion. 

In  pouring  ether  or  collodion  from  one  bottle  to 
another,  jDractice  the  greatest  care,  as  the  vapors 
will  ignite  at  a  long  distance  from  these  substances, 
when  they  are  made  to  evaporate. 

Cyanide  of  potassium  will  have  the  effect  of  a 
virulent  poison,  if  taken  in  the  system ;  and  even 


204  TO   CLEAIS    TIIK   HANDS. 

inlialing  the  fumes  which  constantly  arise  from  it 
are  injurious.  Bj  wetting  the  lips  slightly  with 
alcohol  immediately  afterwards,  it  will  in  some 
degree  neutralize  the  unpleasant  effects. 

Use  no  soap  to  remove  the  stains  of  nitrate  of 
silver,  but  employ  cyanide  of  potassium,  which 
must  be  well  washed  with  clean  water  to  remove 
any  traces  of  that  substance.  Should  the  skin  be 
broken,  a  small  quantity  of  cyanide  will  enter, 
causing  considerable  pain  and  inconvenience. 

Avoid  the  contact  of  the  hands  as  much  as  pos- 
sible with  the  nitrate  of  silver  solution,  as  well  as 
dro23ping  it  upon  the  clothes.  Wherever  it  may 
fall,  it  will  cause  a  stain  or  mark  that  nothing  but 
cyanide  of  potassium  will  remove. 

TO  CLEAN  THE  HANDS. 

The  most  effectual  way  to  clean  the  lingers 
when  they  become  stained  with  nitrate  of  silver, 
is  to  moisten  them  and  rub  them  with  cyanide  of 
potassium.  This  should  be  used  as  soon  as  possi- 
ble after  the  stains  have  been  made. 

A  piece  of  pumice-stone  rubbed  down  to  a  flat 
surface  is  also  very  effectual  in  removing  fresh 
stains. 


REMOVING    STAINS    OF   SILVER.  205 

Als^OTHER  PLAK 

"Wash  the  hands  with  a  solution  of  iodine,  dis- 
solved in  alcohol,  and  while  they  are  wet  wash 
with  a  strong  solution  of  hyposulphite  of  soda, 
afterwards  with  water,  to  remove  all  traces  of  the 

salt, 

METHOD  OF  EEMOVIl^G  THE  STAINS  OF  SILVER 
FROM  LIKEIvT,  THE  HANDS,  ETC, 

Mix  together — 

Common  alcohol          ....  20  parts. 

Iodine 1  part. 

Nitric  acid 1  part. 

Hydrochloric  acid        ....  1  part. 

These  produce  a  reddish  liquid,  which,  when  aj)- 
plied  to  stains  caused  by  any  salts  of  silver,  im- 
mediately converts  them  into  chloride  and  iodide 
of  silver,  soluble  in  hyposulphite  of  soda  and  cya- 
nide of  potassium.  The  effect  is  especially  marked 
on  stained  linen.  When  a  black  patch  is  touched 
with  the  liquid,  by  means  of  a  little  brush,  it  in- 
stantly turns  yellow,  with  a  violet  border,  if  the 
linen  has  been  starched.  On  washing  with  the 
hyposulphite,  or  with  the  cyanide,  the  violet  tint 

immediately  vanishes,  and  the  yellow  spot  by  de- 

18 


206  HINTS    AND   SUGGESTIONS. 

grees.  It  is  well  to  wash  the  stained  place  after 
the  application  of  the  iodized  solution,  in  order  to 
remove  the  acids,  which  might  produce  independ- 
ent stains  by  contact  with  the  hji^osulphite  or  the 
cyanide. 

For  the  hands,  the  operation  is  the  same,  except 
that,  instead  of  using  a  brush,  the  skin  may  be 
rubbed  with  a  piece  of  rag  or  cotton. 

HINTS  AND  SUGGESTIONS. 

The  following  hints  and  suggestions  in  regard 
to  the  practice  may  be  observed  with  profit : 

Always  keep  the  stoppers  in  the  bottle,  except 
when  the  bottle  is  in  actual  use. 

Always  cover  the  nitrate  of  silver  bath,  except 
when  in  use. 

Always  rinse  the  fingers  well  in  clean  water 
after  develoj)ing  a  picture,  or  the  next  will  prob- 
ably be  injured. 

The  frames  for  holding  the  glass  plates  in  the 
plate-holder  will  require  revarnishing,  as  the  ni- 
trate of  silver  often  acts  on  the  wood,  and  produces 
Btains  on  the  jjicture. 

Frequently  wash  the  glass  bottles  containing  the 
developing  solution. 

Be  careful  that  the  towels  and  clothes  for  clean- 


DECANTING   THE   COLLODION.  207 

ing  the  glasses  are  used  for  no  other  purpose,  and 
are  free  from  all  contact  of  soap,  &c. 

Kemove  carefully  any  dried  collodion  which 
may  form  about  the  neck  of  the  bottle. 

Particularly  observe  that  in  every  thing  con- 
nected with  photography,  the  most  scrupulous  at- 
tention to  cleanliness  is  indispensable  to  good  suc- 
cess. 

Remember  to  decant  from  the  large  bottle  a 
sufficient  quantity  of  collodion  every  evening  for 
use  the  following  day  into  several  small  bottles,  as 
the  oftener  it  is  decanted,  the  more  pure  the  col- 
lodion. 

If  the  collodion  is  too  thick,  and  requires  the 
addition  of  more  ether,  the  proper  time  to  add  it 
o'ill  be  when  it  is  decanted.  It  may  then  be 
slightly  agitated. 

Avoid  in  all  cases  the  shaking  of  collodion,  or 
of  the  varnishes.  The  collodion  is  always  throwing 
down  a  precipitate  which  requires»many  hours  to 
fall  again,  if  disturbed ;  and  the  varnish  will  be- 
come full  of  air-bubbles,  which  on  being  applied 
to  the  surface  of  the  plate,  greatly  injure  it. 

In  applying  the  thick  varnish,  or  the  balsam, 
between  the  two  glasses,  according  to  the  "patent 
process,"  great  care  must  be  observed  to  avoid  the 


208  THE   USE   OF   TEST-PAPEKS. 

air-bubbles.  It  should  be  poured  only  on  the  cen- 
tre of  the  glass,  and  then  with  only  a  drop  or  two. 
After  the  pouring,  the  balsam  should  form  a  slight 
line,  running  to  the  edge  of  the  glass,  otherwise 
air-bubbles  will  inevitably  be  produced.  Avoid 
pressing  the  glasses  after  they  are  sealed. 

Use  gutta-percha  dishes  for  all  photographic 
purposes,  and  avoid  bringing  them  too  near  the 
fire,  as  they  will  melt  at  a  low  temperature. 

In  using  test-papers,  observe  the  following  pre- 
cautions :  They  should  be  kept  in  a  dark  place, 
and  protected  from  the  action  of  the  air,  or  they 
soon  become  purple  from  carbonic  acid,  always 
present  in  the  atmos^^here  in  small  quantities.  By 
immersion  in  water  containing  about  one  drop  of 
,  liquor  potasse  in  four  ounces,  the  blue  color  is  re- 
stored. 

Test-papers  prepared  with  porous  paper  show 
the  red  color  better  than  those  upon  glazed  or 
strongly  sized  paper.  If  the  quantity  of  acid  pres- 
ent, however,  is  small,  it  is  not  sufficient  in  any 
case  simply  to  dip  the  paper  in  the  liquid  :  a  small 
strip  should  be  thrown  in,  and  allowed  to  remain 
for  ten  minutes  or  a  quarter  of  an  hour. 

If  the  paper,  on  immei'sion,  assumes  a  wine-red, 
or  purple  tint,  in  place  of  a  decided  red,  it  is  prob- 


COLLODION    HIGHLY    SENSITIVE.  'J()!« 

ably  caused  by  carbonic  acid  gas.  In  that  case 
the  blue  color  returns  when  the  paper  is  washed 
and  held  to  the  fire.  Blue  litmus-paper  may  be 
changed  to  the  red  paj)ers  used  for  alkalies  by 
soaking  in  water  acidified  with  sulphuric  acid,  one 
drop  to  half  a  pint. 

TO  RENDER  ANY  COLLODION  HIGHLY  SENSITIVE. 

By  the  addition  of  two  or  three  drops  of  a  solu- 
tion of  iodide  of  iron  in  alcohol  to  every  ounce  of 
iodized  collodion,  it  will  cause  it  to  make  the  im- 
pression  in  the  camera  in  an  incredible  short  space 
of  time ;  but  as  it  soon  injures  the  quality  of  the 
collodion,  it  is  well  not  to  sensitize  only  as  much 
as  is  wanted  for  immediate  use. 

TO  DAREIEN  AMBROTYPES, 

OR   THE    LAMPRATYPE. 

A  new  and  ingenious  plan  has  been  devised  and 
successfully  carried  into  practice  by  Mr.  S.  A. 
Holmes,  of  New  York,  of  rendering  Ambrotypes 
much  darker  in  the  dark  portions  of  the  picture, 
and  whiter  in  the  white  portions.  For  distinction, 
he  has  named  them  Lampratypes. 

The  method  of  efiecting  this  is  as  follows : 

18* 


310  PEARL   AMBROTYPES. 


THE    LAMPRATYPE    PROCESS. 


After  the  picture  is  well  dried  on  the  glass,  and  before  applying 
any  v.irnish,  gently  rub  it,  on  the  collodion  side,  with  a  round  buck- 
skin butF  ball,  made  of  the  softest  quality  of  buckskin,  and  tied 
very  lightly  over  cotton.  This  buff  must  be  used  for  no  other  pur- 
pose. Pass  the  buif  lightly  across  the  plate  in  straight  lines,  and  it 
will  assume  a  darker  hue  until  the  desired  shade  is  attained. 

By  tliis  same  process  a  portion  cf  the  hair  that  may  be  too  light, 
can  be  rendered  darker  by  rubbing  it  lightly  with  a  brush,  or  eamel's- 
hair  pencil ;  or  any  portion  of  the  drapery  may  be  changed,  to  a 
darker  shade,  if  desirable. 


TO  MAKE  THE  PEAEL  AMBEOTYPES. 

Dissolve  one  ounce  of  bi-chloride  of  mercury  (corrosive  subli- 
mate) in  half  an  ounce  of  pure  muriatic  acid,  and  add  to  this  six 
ounces  of  water  ;  or  a  saturated  solution  of  bi-chloride  in  water  will 
answer  as  well.  As  soon  as  the  ambrotype  is  finished  in  the  usual 
manner,  and  ready  for  drying,  place  it  on  a  Daguerreotype  gilding- 
stand,  and  pour  sufficient  of  this  solution  over  the  plate  to  cover  it, 
allowing  it  to  remain  for  a  few  minutes.  At  first  it  will  assume  a 
dark  color,  and  lines  appear  on  its  surface  ;  but  if  allowed  to  remain 
a  short  time,  or  if  a  small  degree  of  heat  from  a  spirit-lamp  is  ap- 
plied, it  will  soon  change  to  a  beautiful  clear  pearl  white,  the  lights 
and  shades  being  very  transparent. 

When  the  requisite  color  is  attained,  great  care  must  be  used  in 
washing  the  solution  from  the  plate,  as  the  collodion  is  affected  by 
the  acid. 

These  pictures  can  only  be  slightly  colored,  and  only  the  white 
arnish  applied,  and  backed  with  a  blackened  glass,  without  any 

ansparent  medium. 

Tlie  black  varnish  cannot  be  applied  to  the  collodion  side,  in  con- 
cquenee  of  the  great  transparency. 

Impressions  which  are  too  short  time  in  the  camera,  may  be  ren- 
ered  white  and  sufficiently  clear  by  this  process — hence  it  is  very 
useful  for  taking  children's  portraits,  and  has  been  adopted  by 
many  with  great  success. 


CHAPTER  XX. 

VOCABULARY    OP    PHOTOGRAPHIC    CHEMICALS ACETIC 

ACID ALCOHOL^AMMONIA BROMINE BROMIDE 

OF   POTASSIUM CARBONATE   OF   SODA CYANIDE  OF 

POTASSIUM CHLORIDE   OF  GOLD HYPOSULPHITE  OF 

GOLD HYPOSULPHITE  OF  SODA IODINE IODIDE  OF 

AMMONIA IODIDE    OF    POTASSIUM IODIDE    OF   SIL- 
VER  PROTOSULPHATE      OF      IRON LITMUS NITRIC 

ACID NITRATE    OF   POTASH — NITRATE  OF  SILVER 

SULPHURIC  ACID PROPERTIES    OF   ETHER PROPER- 
TIES   OF   WATER. 

A  VOCABULARY  of  the  principal  chemicals  used 
in  the  jDhotographic  art  is  deemed  necessary  mainly 
for  purposes  of  reference.  It  frequently  may  occur 
to  the  experienced  oj^erator,  that  a  more  intimate 
knowledge  of  the  construction  of  the  ingredients 
used  in  the  art  is  required,  and  this  can  be  sup- 
plied in  a  good  measure  without  a  reference  to 
large  works  on  chemistry. 

This  vocabulary  is  not  to  be  considered  as  a 
complete  one  on  the  subject ;  but  only  so  far  as 


212  ACETIC    ACID. 

one  may  require  information  specially  connected 
with  the  practice  of  this  art,  will  this  be  found 
useful. 

The  symbols  are  omitted,  for  the  reason  that,  if 
used,  they  would  require  further  explanation,  and 
continue  to  lead  the  more  inexperienced  chemist 
into  difficulties,  and  would  render  the  book  too 
prolix  with  chemical  terms.  Some  of  these  terms, 
however,  are  unavoidably  introduced. 

ACETIC  ACID. 

Acetic  acid  is  a  product  of  the  oxidation  of  al- 
cohol. Spirituous  liquids,  when  perfectly  pure, 
are  not  affected  by  exposure  to  air  ;  but  if  a  por- 
tion of  yeast,  or  nitrogenous  organic  matter  of  any 
kind  is  added,  it  soon  acts  as  ^  ferment^  and  causes 
the  spirit  to  unite  with  oxygen  derived  from  the 
atmosphere,  and  so  to  become  sour  from  formation 
of  vinegar,  or  acetic  acid,  as  it  is  properly  termed. 

The  most  concentrated  acetic  acid  is  obtained 
by  neutralizing  common  vinegar  with  carbonate  of 
soda,  and  crystallizing  out  the  acetate  of  soda  so 
formed ;  this  acetate  of  soda  is  then  distilled  with 
sulphuric  acid,  which  removes  the  soda  and  liber- 
ates acetic  acid :  the  acetic  acid  being  volatile, 
distils  over,  and  may  be  condensed. 


ALCOHOL.  213 

Properties  of  Acetic  Acid. — The  strongest  acid 
contains  only  a  single  atom  of  water ;  it  is  sold 
under  the  name  of  "  glacial  acetic  acid^''  so  called 
from  its  property  of  solidifying  at  a  moderately 
low  temperature.  At  about  fifty  degrees  the  crys- 
tals melt,  and  form  a  limpid  liquid  of  pungent 
odor,  and  a  density  nearly  corresponding  to  that  of 
water.  The  specific  gravity  of  acetic  acid,  how- 
ever, is  no  test  of  its  real  strength,  which  can  only 
be  estimated  by  analysis. 

In  purchasing  the  commercial  acid  (which  is 
generally  known  as  Acetic  Acid  No.  8)  for  photo- 
gra^^hic  purposes,  it  is  important  to  distinguish  the 
glacial  acid  from  a  liquid  oi '•'' ten  per  cent,  real 
acid''"'  sometimes  sold  ;  also  it  is  well  to  test  for  the 
presence  of  sulphuric  acid.,  which  may  be  recog- 
nized by  the  white  precipitate  produced  on  adding 
a  drop  of  solution  of  cldoride  of  barium. 

ALCOHOL. 

Alcohol  is  obtained  by  the  careful  distillation  of 
any  spirituous  or  fermented  liquor.  If  wine  or 
beer  be  placed  in  a  retort,  and  heat  applied,  the 
alcohol,  being  more  volatile  than  water,  rises  first, 
and  is  condensed  in  an  appropriate  receiver ;  a 
portion  of  the  vapor  of  water,  however,  passes  over 


21i  AMMONIA. 

with  the  alcohol,  and  dilutes  it  to  a  ceriain  degree, 
forming  what  is  termed  "  spirits  of  wiiie."  In  or- 
der to  render  the  alcohol  thoroughly  anhydrous^  it 
is  necessary  to  employ  the  quick-lime^  which  pos- 
sesses a  still  greater  attraction  for  water.  An  equal 
weight  of  this  powdered  lime  is  mixed  with  the  al- 
cohol, and  the  two  are  distilled  together. 

Properties  of  AlcohoL — ^Pure  anhydrous  alco- 
hol is  a  limpid  liquid,  of  an  agreeable  odor  and 
pungent  taste  ;  specific  gravity  at  60-794.  It  ab- 
sorbs vapor  of  water,  and  becomes  diluted  by  expo- 
sure to  damp  air ;  boils  at  1.73  Fahrenheit,  It  has 
never  been  frozen. 

Alcohol  distilled  from  carbonate  of  potash,  has 
a  specific  gravity  of  '823,  and  contains  90  per  cent, 
of  real  spirit. 

The  specific  gravity  of  ordinary  rectified  spirits 
of  wine  is  usually  about  .840,  and  it  contains  80  to 
83  per  cent,  of  absolute  alcohol. 

AlklMONIA. 

The  liquid  known  by  this  name  is  an  aqueous 
solution  of  a  volatile  gas. 

Ammoniacal  gas  contains  one  atom  of  nitrogen 
combined  with  three  of  hydrogen.  These  elemen- 
tary bodies  exhibit  no  aflSnity  for  each  other,  but 


PKOPEKTIES   OF   AMMONIA.  215 

they  can  be  made  to  unite  under  certain  circum- 
stances, and  the  result  is  ammonia. 

Properties  of  Ammonia. — Ammoniacal  gas  is 
soluble  in  water  to  a  large  extent ;  the  solution 
possesses  those  properties  which  are  termed  allia- 
line.  Ammonia,  however,  differs  from  the  other 
alkalies  in  one  important  jDarticular — it  is  volatile  ; 
hence  the  original  color  of  turmeric  paper,  af- 
fected by  ammonia,  is  restored  on  the  application 
of  heat.  Solution  of  ammonia  absorbs  carbonic 
acid  rapidly  from  the  air,  and  is  converted  into 
carbonate  of  ammonia ;  it  should  therefore  be  pre- 
served in  stoppered  bottles.  Besides  carbonate, 
commercial  ammonia  often  contains  chloride  of 
ammonia,  recognized  by  the  white  precii^itate 
given  by  nitrate  of  silver  after  acidifying  with  pure 
nitric  acid. 

The  strength  of  commercial  ammonia  varies 
greatly.  That  sold  for  pharmaceutical  purposes, 
under  the  name  of  Liquor  Ammoniae,  contains 
about  ten  per  cent,  of  real  ammonia. 

The  sj)ecific  gravity  of  aqueous  ammonia  dimin 
ishes  with  the  projjortion  of  ammonia  present,  the 
liquor  ammonise  being  usually  about  'PSO. 


216  BROMIDE  OF   POTASSroM. 

•  BEOMIKE. 

This  elementary  substance  is  obtained  from  the 
uncrystallizable  residue  of  sea-water,  termed  hit- 
tern.  It  exists  in  the  water  in  very  minute  pro- 
portion, and  combined  with  magnesium,  in  the 
form  of  a  soluble  bromide. 

Properties. — Bromine  is  a  deep  reddish-brown 
liquid  of  a  disagreeable  odor,  and  fuming  strongly 
at  common  temperatures;  sparingly  soluble  in 
water  (1  part  in  23 — Lowig),  but  more  abundantly 
so  in  alcohol,  and  especially  in  ether.  Specific 
gravity  3'0. 

Bromine  is  closely  analogous  to  chlorine  and 
iodine  in  its  chemical  properties.  It  stands  on  the 
list  intermediately  between  the  two — its  afiinities 
being  stronger  than  those  of  iodine,  but  weaker 
than  chlorine.     It  is  a  powerful  poison. 

BROMIDE  OF  POTASSIUM. 
Bromide  of  potassium  is  prepared  by  adding 
bromine  to  caustic  potash,  and  heating  the  pro- 
duct, which  is  a  mixture  of  bromide  of  potassium 
and  bromate  of  potash,  to  redness,  in  order  to  drive 
off  the  oxygen  from  the  latter  salt.  It  crystallizes 
in  anhydi-ous  tubes  like  the  chloride  and  iodide  of 


CYANIDE   OF   POTASSroM.  217 

potassium  ;  it  is  easily  soluble  in  water,  but  more 
sparingly  so  in  alcohol;  it  yields  red  fumes  of 
bromine  when  acted  upon  by  sulj^huric  acid. 

CARBON'ATE  OF  SODA. 

This  salt  was  formerly  obtained  from  the  ashes 
of  sea-weeds,  but  is  now  more  economically  manu- 
factured on  a  large  scale  from  common  salt.  The 
chloride  of  sodium  is  iii'st  conyerted  into  sulphate 
of  soda,  and  afterwards  the  sulphate  into  carbo- 
nate of  soda. 

Properties. — Tlie  perfect  crystals  contain  ten 
atoms  of  water,  which  are  driven  off  by  the  appli- 
cation of  heat,  leaving  a  white  powder — the  anhy- 
drous carbonate.  Cotwrnon  washing  soda  is  a  neu- 
tral carbonate,  contaminated  to  a  certain  extent 
with  chloride  of  sodium  and  sulphate  of  soda. 
Carbonate  of  soda  is  soluble  in  twice  its  weight  of 
water  at  60°,  the  solution  being  strongly  alkaline. 

CYANIDE  OF  POTASSIUM. 

This  salt  is  a  compound  of  prussic  acid  with  po- 
tassium, and  a  very  deadly  poison.  It  is  used  in 
photography :  added  to  nitrate  of  silver,  it  jnelds 
cyanide  of  silver,  which  is  very  sensitive  to  the 
action  of  light;  but  when  added  to  the  iodide  and 

19 


218  CHLORIDE   OF   GOLD. 

the  fluoride  of  potassium,  it  forms  a  triple  salt  of 
great  sensitiveness.  Cyanide  of  silver  is  insoluble 
in  water,  and  in  diluted  nitric  acid.  It  is  decom- 
posed by  hydrochloric  acid,  and  changed  into  chlo- 
ride of  silver.  Solution  of  ammonia,  the  alkaline 
cyanides,  and  especially  hyposulphite  of  soda,  dis- 
solve it. 

The  cyanide  of  potassium  dissolves  the  iodide, 
chloride,  and  bromide  of  silver;  hence  it  is  used 
as  a  fixing  agent  for  ambrotypes.  It  also  dissolves 
the  protoxides  and  suboxides  of  this  metal  when 
they  are  precipitated  by  gallic  acid.  A  solution 
of  the  salt  is  useful,  with  the  aid  of  a  brush,  to  re- 
move the  black  spots  which  injure  positive  pictures 
on  i^aper,  only  it  must  be  applied  with  great  cau- 
tion, and  the  print  immersed  in  water  immediately 
after  its  application,  else  it  may  destroy  it  entirely. 

CHLORIDE  OF  GOLD. 

This  salt  is  formed  by  dissolving  metallic  gold 
in  nitro-hydrochloric  acid,  or  aqua  regia^  and  eva- 
porating at  a  gentle  heat.  The  solution  aifords 
deliquescent  crystals  of  a  deep  orange-color. 

Pro])erties.- — The  solution  of  terchloride  of  gold 
is  of  a  bright  yellow  color  when  dilute,  but  nearly 
red  if  concentrated.     As  usually  sold,  it  contains 


HYPOSULPHITE   OF    SODA.  219 

an  excess  of  hydrochloric  acid  ;  but  even  if  freed 
from  this,  it  is  still  acid  to  test-paper,  although 
neutral,  chemically  speaking.  It  is  decomposed 
with  precipitation  of  metallic  gold  by  charcoal, 
sulphurous  acid,  and  many  of  the  vegetable  acids ; 
also  by  protosulphate  or  protonitrate  of  iron.  It 
tinges  the  cuticle  of  an  indelible  purple  tint.  It  is 
soluble  in  alcohol,  and  also  in  ether. 

The  addition  of  ammonia  to  terchloride  of  gold 
produces  the  dangerous  explosive  compound  known 
2iB  fulminating  gold. 

HYPOSULPHITE  OF  GOLD. 

Hyposulphite  of  gold  is  produced  by  the  reac- 
tion of  chloride  of  gold  upon  hyposulphite  of  soda. 

The  salt  sold  in  C(jmmerce  as  sel  d'or  is  a  double 
hyposulphite  of  gold  and  soda,  containing  one  atom 
of  the  former  salt  to  three  of  the  latter,  with  fom* 
atoms  of  water  of  crystallization, 

HYPOSULPHITE  OF  SODA. 

This  salt  is  very  soluble  in  water  at  all  tempera- 
tures. It  is  of  great  service  in  photography  for 
"  fixing"  the  positive  pictures  on  paper,  which  it 
accomplishes  by  dissolving  the  salts  of  silver,  such 
as  the  chloride,  iodide,  &c.,  which  are  insoluble  in 


220  IODINE. 

water,  and  so  removing  tliem  from  the  picture, 
and  thereby  preventing  any  further  chemical 
change  in  the  impression.  The  solution  of  h}'po- 
sulphite  of  soda,  after  it  retains  some  of  the  salts 
of  silver  in  solution,  is  more  useful  for  the  fixing 
process,  as  it  gives  better  black  tones  than  when 
first  employed.  It  is  the  best  fixing  material  yet 
discovered,  both  for  positives  on  paper  and  nega- 
tives on  glass ;  and  by  careful  manipulation,  al- 
most every  variety  of  tone  can  be  given  *to  the 
pictures.  With  faint  positive  pictures,  it  is  best 
to  soak  them  for  a  few  hours  in  a  bath  of  clean 
water  before  submitting  them  to  the  action  of  the 
hyposulphite  of  soda,  by  which  means  the  soluble 
salts  of  silver  are  removed  without  affecting  those 
parts  acted  upon  by  the  light,  which  constitute  the 
blacks.  Thus  we  abridge  the  time  necessary  for 
the  action  of  the  hyposulphite,  and  the  fixed  image 
is  found  to  be  more  vigorous  than  if  it  had  been 
placed  at  once  in  the  hyposulphite  of  soda. 

IODINE. 

Iodine  is  chiefly  prepared  at  Glasgow,  from  Tcelp^ 
which  is  the  fused  ash  obtained  by  burning  sea- 
weeds. The  waters  of  the  ocean  contain  minute 
quantities  of  the  iodides  of  sodium  and  magnesium, 


PROPERTIES    OF   IODINE.  221 

which  are  separated  and  stored  up  by  the  growing 
tissues  of  the  marine  j)lant. 

Properties. — Iodine  is  met  with  in  two  forms — 
the  commercial  and  the  resublimed  iodine.  The 
former,  which  is  sold  at  a  lower  price  than  the 
other,  is  sufficiently  pure  for  most  ])urposes. 

Iodine  has  a  bluish  black  color  and  metallic 
lusti-e.  It  stains  the  skin  yellow,  and  has  a  pun- 
gent smell,  like  diluted  chlorine.  It  is  extremely 
volatile  when  moist,  boils  at  350°,  and  produces 
dense  violet-colored  fumes,  which  condense  in  bril- 
liant plates.  Specific  gravity  4-946.  Iodine  is 
very  sparingly  soluble  in  water,  one  part  requir- 
ing 7,000  parts  for  perfect  solution.  Even  this 
minute  quantity,  however,  tinges  the  liquid  of  a 
brown  color.  Alcohol  and  ether  dissolve  it  more 
abundantly,  forming  dark-brown  solutions.  Iodine 
also  dissolves  freely  in  solutions  of  the  alkaline 
iodides — such  as  the  iodide  of  potassium,  of  sodi 
um,  and  of  ammonium. 

Chemical  jyrojperties. — Iodine  belongs  to  the 
chlorine  group  of  elements,  characterized  by  form- 
ing* acids  with  hydrogen,  and  combining  exten- 
sively with  the  metals.  They  are,  however,  com- 
joaratively  indiflerent  to  oxygen,  and  also  to  each 

other. 

19* 


2-^3  IODIDE   OF    AMMONIA. 


Tlie  iodides  of  the  alkalies,  and  alkaline  earths, 
are  soluble  in  water ;  also  those  of  iron,  zinc,  cad- 
mium, etc.  The  iodides  of  lead,  silver,  and  mer- 
cury are  neaj'ly  or  quite  insoluble. 

Iodine  possesses  the  property  of  forming  a  com- 
pound of  a  deep-blue  color  with  starch.  In  using 
this  as  a  test,  it  is  necessary,  first,  to  liberate  the 
iodine  (if  in  combination)  by  means  of  chlorine,  or 
nitric  acid  saturated  with  peroxide  of  nitrogen. 
The  presence  of  alcohol  or  ether  interferes  to  a 
certain  extent  with  the  result. 

IODIDE  OF  AMMONIA. 

The  hydriodate  of  ammonia  is  a  compound  very 
easily  decomposed  :  it  must  be  kept  suspended  in 
a  bottle  containing  a  small  quantity  of  carbonate 
of  ammonia. 

Sensitive  papers  may  be  prepared  by  washing 
them  with  a  solution  of  this  substance  previous  to 
placing  them  upon  the  aceto-nitrate  of  silver ;  an 
impression  is  received  with  great  rapidity,  which 
is  developed  with  facility  by  gallic  aid,  to  which  a 
little  acetate  of  ammonia  has  been  added.    •    • 

IODIDE  OF  POTASSIUM. 
Iodide   of  potassium  is   one   of  the   principal 


IODIDE    OF   SlL,VER.  223 

chemical  agents  in  photography.  It  serves  to  fonn 
the  iodide  of  silver,  which  is  the  sensitive  salt 
upon  which  light  acts  with  the  greatest  energy. 
This  iodide  of  silver  is  insoluble  in  water,  but  sol- 
uble in  hyposulphite  of  soda,  which  is  used  for 
'"'' fixing'''  the  negative  pictures. 

This  salt  is  usually  formed  by  dissolving  iodine 
in  solution  of  potasli  until  it  begins  to  acquire  a 
brown  color ;  a  mixture  of  iodide  of  potassium  and 
iodide  of  potash  is  thus  formed  ;  but  by  evapora- 
tion and  heating  to  redness,  the  latter  salt  parts 
witli  its  oxygen,  and  is  converted  into  iodide  of 
potassium. 

Properties. — It  forms  cubic  and  prismatic  crys- 
tals, which  should  be  very  hard,  and  very  slightly 
or  not  at  all  deliquescent.  Soluble  in  less  than  an 
equal  weight  of  water  at  60° ;  it  is  also  soluble  in 
alcohol,  but  not  in  ether. 

IODIDE  OF  SILVER. 

Iodide  of  silver  is  obtained  by  adding  iodide  of 
potassium  to  a  solution  of  nitrate  of  silver ;  de- 
composition ensues,  the  nitric  acid  leaves  the  silver 
and  unites  with  the  potash,  while'  the  liberated 
iodine  coinl)ines  with  the  silver,  and  falls  as  a  yel- 
low precipitate,  which  must  be  well   wasbed  in 


224:  PROTOSULPHATE   OF   IRON. 

distilled  water,  being  insoluble  therein,  to  remove 
the  nitrate  of  potash,  and  then  dissolved  in  a  sat- 
urated solution  of  iodide  of  potassium.  This  mix- 
ture is  to  be  added  to  the  collodion  in  small  quan- 
tities at  a  time,  and  agitated  until  dissolved. 

PEOTOSULPHATE  OF  IRO¥. 

This  is  the  copperas  or  green  vitriol  of  com- 
merce— a  most  abundant  substance,  and  used  ibi 
a  variety  of  i3urposes  in  the  arts.  Commercial  sul- 
phate of  iron,  however,  being  prepared  on  a  large 
scale,  mostly  requires  recrystallizing  in  order  to  ren- 
der it  sufKciently  pure  for  photographic  purposes. 

Pure  sulphate  of  iron  is  met  with  in  the  form 
of  large,  transparent,  prismatic  crystals,  of  a  deli- 
cate green  color ;  by  exposure  to  the  air  they  grad- 
ually absorb  oxygen,  and  become  rusty  on  the 
surface.  Solution  of  sulphate  of  iron,  colorless  at 
first,  afterwards  changes  to  a  red  tint,  and  de- 
posits a  brown  powder ;  this  powder  is  a  hasic 
persulphate  of  iron,  that  is  to  say,  a  persulphate 
containing  an  excess  of  the  oxide,  or  "  hase?^  By 
adding  sulphuric  acid  to  the  solution  of  protosul- 
phate  of  iron,  the  formation  of  a  deposit  is  pre- 
vented, but  the  decomposition  goes  on  slowly  as 
before. 


NiTEic  Acm.  225 


LITMUS. 

Litmus  is  a  vegetable  substance,  prepared  from 
various  lich^ns^  which  are  principally  collected  on 
rocks  adjoining  the  sea.  The  coloring  matter  is 
extracted  by  a  peculiar  process,  and  afterwards 
made  up  into  a  paste  with  chalk,  plaster  of 
Paris^  etc. 

Litmus  occurs  in  commerce  in  the  form  of  small 
cubes,  of  a  fine  violet  color.  In  using  it  for  the 
preparation  of  test-papers,  it  is  digested  in  hot 
water,  and  sheets  of  porous  paper  are  soaked  in  the 
blue  liquid  so  formed.  The  red  papers  are  pre- 
pared in  a  similar  manner,  and  afterwards  placed 
in  water  which  has  been  rendered  faintly  acid 
with  sulphuric  or  hydrochloric  acid. 

NITEIC  ACID. 

This  acid  is  obtained  by  distilling  a  mixture  of 
equal  parts,  by  weight,  of  nitrate  of  potash  and 
sulphuric  acid.  It  is  very  abundant  in  commerce, 
and  is  useful  in  photography  to  form  the  nitrate  of 
silver ;  and  in  combination  with  muriatic  acid 
{aqua  regia)^  to  yield  the  chloride  of  gold  :  added 
to  the  sulphate  of  the  protoxide  of  iron,  it  converts 
it  into  the  sulphate  of  the  peroxide. 


226  NITRATE    OF    POTASH. 

It  is  also  employed  to  darken  the  tone  of  the 
shadows  of  the  jiositive  paper  pictures,  after  they 
have  been  submitted  to  the  action  of  the  hyposul- 
jAute  of  soda.  Its  action  is  similar  to  that  of  the 
muriatic  acid  used  for  the  same  purpose. 

As  it  possesses  great  solvent  powers,  it  is  very 
useful  for  removing  the  deposits  left  on  the  gutta- 
percha or  porcelain  dishes,  &c. ;  but  the  greatest 
care  must  be  taken  that  no  free  acid  appears  in 
any  of  the  preparations  used  in  photography ;  for 
however  useful  in  its  combinations  with  silver, 
&c.,  alone,  it  has  a  most  destructive  influence  by 
its  deoxydizing  qualities,  neutralizing  the  effects 
produced  by  the  agency  of  light. 

NITRATE  OF  POTASH. 

This  salt,  also  termed  nit're  or  saltpetre,  is  an 
abundant  natural  product,  found  effloresced  upon 
the  soil  in  certain  parts  of  the  East  Indies.  It  is 
also  produced  artificially  in  what  are  called  nitre- 
beds. 

NITEATE  OF  SILVER. 

Nitrate  of  silver  is  the  most  important  ingre- 
dient in  photography.  It  is  a  compound  of  nitric 
acid  with  the  metal  silver  in  its  highest  state  of 


NITKATE    OF   SILVER.  227 

oxydation.  It  is  decomposed  by  iodide  of  potas- 
sium, by  whicli  iodide  of  silver  is  obtained.  The 
best  nitrate  of  silver  is  in  thin  colorless  crystalline 
plates,  which  are  soluble  in  an  equal  weight  of 
cold  water.  Exposed  to  light,  this  salt  blackens, 
especially  if  any  organic  matter  is  present.  Ad- 
vantage is  taken  of  this  peculiar  property  to  pre- 
pare the  sensitive  solutions  which  are  spread  upon 
the  paper  and  glass,  and  other  media  employed  in 
obtaining  photographic  pictures.  It  is  readily  de- 
composed by  chlorides,  bromides,  fluorides,  cy- 
anides, &c.,  producing  salts  of  exquisite  sensibility; 
and  if  these,  or  some  of  them,  are  added  to  the 
iodide  of  potassium,  in  the  first  preparation  of  the 
paper,  when  they  are  submitted  to  the  contact  of 
the  nitrate  of  silver,  compounds  are  formed,  ap- 
parently intermediate  in  their  atomic  constitution^ 
between  the  protoxide  and  the  suboxide  of  silver. 
As  soon  as  the  light  strikes  these  preparations  in 
this  condition,  they  pass  from  the  state  interme- 
diate between  the  protoxide  and  suboxide  to  the 
metallic  state,  the  silver  is  reduced,  and  is  preci- 
pitated in  a  dark-colored  form  by  gallic  or  pyro- 
gallic  acid,  in  various  degrees  of  strength,  accord- 
ing to  the  extent  of  the  reduction.  The  chiel 
object  and  aim  in  the  future  of  photography  is  in 


228  SULPHURIC    ACID. 

the  direction  of  the  developing  agents.  "We  have 
found  substances  which  require  but  an  instantane- 
ous exposure  to  the  action  of  light  to  effect  that 
change,  which,  once  set  up,  is  continued  and  com- 
pleted by  suitable  developing  agencies. 

SULPHURIC  ACID. 

Sulphuric  acid  may  be  formed  by  oxydizing  sul- 
phur with  boiling  nitric  acid  ;  but  this  plan  would 
be  too  expensive  to  be  adopted  on  a  large  scale. 
The  commercial  process  for  the  manufacture  ol 
sulphuric  acid  is  exceedingly  ingenious  and  beau- 
tiful, but  it  involves  reactions  which  are  somewhat 
complicated,  and  do  not  admit  of  a  superficial  ex 
planation. 

Properties. — Anhydrous  sulphuric  acid  is  a 
white  crystalline  solid.  The  strongest  liquid  acid 
always  contains  one  atom  of  water,  which  is  closely 
associated  with  it,  and  cannot  be  driven  off  by  the 
application  of  heat. 

Sulphuric  acid  possesses  intense  chemical  powers, 
and  displaces  the  greater  number  of  ordinary  acids 
from  their  salts.  It  chars  organic  substances,  by 
removing  the  elements  of  water,  and  converts  alco- 
hol into  ether  in  a  similar  manner.  The  strength 
of  a  given  sample  of  sulphuric  acid  may  generally 


TEST   OF   SULPHUEIO   ACID.  229 

be  calculated  from  its  specific  gravity,  and  a  table 
is  given  by  Dr.  Ure  for  that  purpose. 

Impurities  of  Commercial  Sulphuric  Acid. — 
Tlie  liquid  acid  known  as  oil  of  vitriol  is  tolerably 
constant  in  composition,  and  seems  to  be  as  well 
adapted  for  photographic  use  as  the  pure  sulphuric 
acid,  which  is  far  more  expensive.  The  specific 
gravity  should  be  about  1*836,  at  60°.  If  a  drop, 
evaporated  upon  platinum  foil,  gives  a  fixed  resi- 
due, probably  bisulphate  of  potash  is  present.  A 
milkiness  on  dilution  indicates  sulphate  of  lead. 

Test  for  Sulphuric  Acid^  either  free  or  in  com- 
hinatimi  with  Bases. — If  the  presence  of  sulphuric 
acid,  or  soluble  sulphate,  is  suspected  in  any  liquid, 
it  is  tested  for  by  adding  a  few  drops  of  a  dilute 
solution  of  chloride  of  barium  or  nitrate  of  baryta. 
A  white  precipitate,  insoluble  in  nitric  acid.,  indi 
cates  sulphuric  acid.  If  the  liquor  to  be  tested  is 
very  acid,  from  nitric  or  hydrochloric  acids,  it 
must  be  largely  diluted  before  testing,  or  a  crystal- 
line precipitate  will  form,  caused  by  the  sparing 
solubility  of  the  chloride  of  barium  itself  in  acid 
solutions. 

20 


230  PBOPERTIES   OF   ETHER. 

ETHER. 

Ether  is  obtained  by  distilling  a  mixture  of  sul- 
phuric acid  and  alcohol.  The  term  sulpJiiiHc  ap- 
plied to  the  commercial  ether  has  reference  only 
to  the  manner  of  its  formation. 

Properties  of  Ether. — It  is  neither  acid  nor  al 
kaline  to  test-paper.  Specific  gravity  at  60°,  about 
•720.  Boils  at  98°  Fahrenheit.  The  vapor  is  ex- 
ceedingly dense,  and  may  be  seen  passing  off  from 
the  liquid,  and  falling  to  the  ground — hence  the 
danger  of  pouring  ether  from  one  bottle  to  another, 
if  a  flame  be  near  at  hand. 

Ether  does  not  mix  with  water  in  all  propor- 
tions— hence  if  the  two  are  shaken  together,  after 
a  short  time  the  former  rises  and  floats  upon,  the 
surface.  In  this  way  a  mixture  of  ether  and  alco- 
hol may  be  separated  from  each  other,  as  in  the 
common  process  of  washing  ether.  The  water 
employed,  however,  always  retains  a  certain  por- 
tion of  ether  (about  a  tenth  part  of  its  bulk),  and 
acquires  a  strong  ethereal  odor.  Washed  ether 
also  contains  water  in  small  proportion. 

Bromine  and  iodine  are  both  soluble  in  ether, 
and  gradually  react  upon  and  decompose  it. 

The  strong  alkalies,  such  as  potash  and  soda. 


PROPERTIES    OF   WATER.  231 

also  decompose  ether  slightly  after  a  time,  but  not 
immediately.  Exposed  to  air  and  light,  ether  is 
oxydized,  and  acquires  a  peculiar  odor. 

Ether  dissolves  fatty  and  resinous  substances 
readily,  but  inorganic  salts  are  mostly  insoluble  in 
this  fluid  ;  hence  it  is  that  iodide  of  potassium  and 
other  substances  dissolved  in  alcohol  are  precipi- 
tated to  a  ceilain  extent  by  the  addition  of  ether. 

WATER. 

Water  is  an  oxide  of  hydrogen,  containing  sin- 
gle atoms  of  each  of  the  gases. 

Distilled  water  is  water  which  has  been  vapor- 
ized and  again  cowidensed ;  by  this  means  it  is 
freed  from  earthy  and  saline  impurities,  which  are 
not  volatile,  and  hence  remain  behind  in  the  body 
of  the  retort.  Pure  water  leaves  no  residue  on 
evaporation,  and  should  remain  perfectly  clear  on 
the  addition  of  nitrate  of  silver  ;  also  it  should  be 
neutral  to  test-paper. 

Impurities  of  common  Water. — Hard  water,  as 
it  is  termed,  usually  contains  sulphate  of  lime  and 
carbonate  of  lime,  dissolved  in  carbonic  acid  ;  also 
chloride  of  sodium  in  greater  or  less  quantity.  On 
boiling  the  water,  the  carbonic  acid  gas  is  evolved, 
and  the  greater  part  of  the  carbonate  of  lime  (if 


232  PROPERTIES   OF    WATER. 

any  is  present)  deposits,  and  forms  an  earthy  in 
crnstation  on  the  boiler. 

In  testing  water  for  sulphates  and  chlorides, 
acidify  a  portion  with  a  few  drops  oi  pure  nitric 
acid,  free  from  chlorine  ;  then  divide  it  into  two 
parts,  and  add  to  the  first  chloride  of  barium,  and 
to  the  second  nitrate  of  silver, — a  milkiness,  in 
either  case,  indicates  the  presence  of  impurity. 
The photogra/phic  nitrate  hatJi  cannot  be  used  as  a 
test  for  chlorides,  since  the  iodide  of  silver  it  con- 
tains is  precipitated  on  dilution. 

Rain-ioater^  having  already  undergone  a  natural 
process  of  distillation,  is  free  from  inorganic  salts 
if  collected  in  clean  vessels  ;  bmt  it  usually  contains 
a  minute  portion  of  ammonia,  and  often  organic 
matter,  which  tinges  it  of  a  brown  color. 


WEIGHTS    AND   MEASURES.  233 


WEIGHTS   AND   MEASURES. 

The  weight  generally  employed  in  Photography 
is  the  apothecaries'  weight ;  but  some  of  the  chem- 
icals are  sold  by  avoirdupois  ;  for  what  reason  no 
one  can  explain. 

Nitrate  of  silver  is  usually  sold  by  that  weight, 
as  well  as  most  of  the  liquids.  The  acids  and  al- 
kalies, however,  are  generally  sold  by  apotheca- 
ries' weight. 

apothecaries'  weight. 

1  grain. 
20  :=      1  scruple 
60  =      3=1  drachm 
480  =    24  =    8=    1  ounce 
5760  =  288  =  96  =  12  =  1  pound. 

AVOIRDUPOIS    WEIGHT. 

1  pound        .        .  .  .  =16  ounces. 

1  ounce          .        .  .  .  =16  drachms. 

1  drachm       ,         .  .  .  =    26*343  grains. 

(1  ounce  avoirdupois  .  .  =  437'5  grains.) 

IMPERIAL    MEASURE. 

1  gallon =8  pints. 

1  pint =20  ounces. 

1  ounce         .         .         ,         .         .       =    8  drachms. 
(1  fluid  ounce  of  water  weighs  437.5  grains,  or  1  ounce  avoir 
dupois.) 

20* 


234  WEIGHTS    AND   MEASUEES. 


FLUID    MEASURE. 

1  minim        .         ,         .         .       =  0'9I 

60  =        1  fluid  drachm         .        =:  54-7  avoird. 

480  =        8=1  fluid  ounce        =  437-5       —     1  oz. 

9600=    160=    20  =  1  pint            =  8-750=     1.25  lb. 

76,800  =  1280  =  160  =  8  =2  gal'n  =  70-000  =  10  lbs. 
(1  pound  avoirdupoi.i  contains  700U  grains.) 

1  pound  Troy         ....  contains  5760  grains. 

1  imperial  gallon  of  water     ...           ''  70,000  " 

I  imperial  pint  of  water  contains  20  ounces,  or  8750  " 

1  cubic  inch  of  water              "           "  "  252-4  " 

1  ounce  avoirdupois       .          "          "  "  437-5  " 

1  ounce  Troy          .         .         "          "  "  480 

1  gramme       ..."          "  "  15-4  " 

1  decigramme        .          .          "           "  "  1-5  " 

1  litre  of  distilled  water         "           "  "  15,406-3  " 

The  grain  is  the  unit  of  weight ;  but  as  three 
standards  of  weight  are  employed,  much  uncer- 
tainty and  confusion  often  arise  in  the  mind  of  the 
photographer  as  to  which  ounce  or  drachm  is 
meant.  The  apothecaries'  weight  is  generally  un- 
derstood to  be  the  one  employed ;  but  it  would 
save  much  trouble  if  the  formulae  for  the  various 
preparations  were  always  given  in  grains. 


INDEX. 


PAOB 

Albumen  paper,  to  prepare 60 

"           "        to  silver 61 

Ambrotypes  on  paper 170 

"        "     on  patent  leather 155 

Art,  PliotogTiiphic,  History  of  the 19 

Art,  triumph  of,  over  Nature 86 

Atnbrotype  clieinicals 3S 

"            views,  to  take 170 

Ambrotypes  in  the  United  Statea 34 

"             stereoscopic 152 

"             for  lockets 169 

"             to  color 1G6 

"             to  darken 209 

"             to  copy  from  Daguerreotypes    171 

"              ai)|iaratus  for 131 

Actino-Hydroiiieter  for  nitrate  bath 136 

Alcoholic  solutions  for  collodions 182 

Alcoholic  solution  of  iodide  of  silver 183 

"                of  bromide  of  silver 184 

"               of  bromo-iodide  of  silver 185 

"               saturated,  of  iodide  of  potassium 186 

•'                saturated,  of  bromide  of  potassium  187 

Ammonia-nitrate  of  silver  solution  for  positives 95 

Acetic  acid — its  nature  and  properties 212 

Alcohol — its  nature  and  properties 213 


Backgrounds,  to  print  various  shades 107 

Bath,  nitrate  of  silver,  preparation  of 133 

'•  to  iodize 134 


236  INDEX. 

PAOK 

Bath,  nitrate  of  silver,  to  test  the 136 

"  •'  to  neutralize 137 

"  '■  adding  acid  to • 13G 

"      gutta-percha,  arrangement  of 133 

"      flowing  tlie 139 

"      renewal  of  the ,. 14" 

"      to  keep  the,  in  order l'*8 

"      silver,  for  cliloride  of  sodium  papers 59 

"      for  toning  and  coloring 93,94 

"      chloride  of  gold "3 

"      water,  fur  positives "^ 

Backgrounds  for  Ambroty pes 1 '" 

Black  and  white  specks  on  plates 1^^ 

Bromide  of  silver,  alcoholic  solution  of 184 

Bromo-iodide,  alcoholic  solution  of 1°^ 

Bromide  of  potassium,  saturated  solution  of 1^7 

Bromine— its  nature  and  properties 210 

Bromide  of  potassium — its  properties 21d 

Camera,  time  of  exposure  in  the 46 

"        solar,  for  life  size '^ 

"        importance  of  a  good l-'^ 

Collodion,  negative,  to  prepare ^2 

"         ammonia °' 

"  cadmium " °" 

"         compound  cadmium °3 

"         double  iodized °'* 

"  to  remove  water  from lo6 

"  to  purify  old lf"5 

"  to  pour  on  tlie  glass  plate 146 

"         Ambrotype,  preparation  of 161 

"  to  iodize,  for  Ambrntypes 162 

"  to  be  kept  from  the  light 163 

"         tests  of  good 164 

"  to  remove  color  from 164 

"  recipes  for  Ambroty  pes ISl 

"  to  render  any,  highly  sensitive 209 

"  for  negatives,  preparation  of 82 

"  recipes  for  negatives 82 -S3 

"         mode  of  coating  glass  plates  with 146 

"  first  used 27 

"         signification  of 27 

"  to  preserve  and  keep  ready  for  use 1  ''3 

Chloroform  for  collodion 1*^' 

Copying  Daguerreotypes  into  Photographs 69-70 


INDEX.  237 


PAQK 

Canada  balsam,  application  of 155 

Cautions  in  using  chemicals,  &c 202 

Cleaning  the  hands 204 

"        glass-plates  for  Aiiihrotypes 126 

"  "  for  negatives 41,  103 

Chemicals,  Ambrotj-pe 132 

"  impurities  of 200 

Colors  for  Ambrotypes IGT 

Children's  portraits,  to  take 177 

Chloride  of  silver,  adding  to  fixing  solution 144 

Cyanide  of  potassium,  properties  of 217 

"  "  danger  of  using 203 

Chloride  of  gold 213 

Carbonate  of  soda 217 

Daguerreotypes  to  copy  life  size 69-70 

"  "  in  Ambrotype 171 

Diaphragm,  use  of 175 

Developing  solution  for  negatives 89 

"  "        for  iron  Photographs 74 

"  "        for  Ambrotypes 141 

"  "        various  recipes  for 143 

"  "        for  negatives 89 

Dextrine  paste  for  Pliotogniphs 104 

Double  glass  process 152 

Drying  positive  prints 67 

"        the  picture 150 

Enlarging  pictures  to  life  size 69 

Engi'aving  name  on  negatives 113 

Engravings,  to  copy,  in  Ambrotype 173 

Ether— its  properties 230 

"    caution  in  using 203 

Ether  and  alcohol  to  form  collodion 160 

Failure,  causes  of 194 

Filtering  process 135 

Fixing  solutions,  preparations  of,  for  Ambrotypes 144 

Fixing  bath  for  negatives 93,  44 

"         for  positive  jiajier 94 

Fixing  solution  for  negntives 44,  93 

"  for  positives 94 

Fogging  the  i>icturcs 114,  195 

"       cause  of,  and  to  detect 114,196 


238  INDEX. 


PAGB 

German  process  for  negatives 85,  86,  87 

Gum  Arabic  paste  for  positives 104 

"  "  varnisli  for  negatives 44 

Glasses,  preparation  of,  for  Ainbrotypes 126 

"        cleaning  substances  for 126 

"        cleaning  new 127 

"        cleaning  old 123 

"        cleaning,  tliat  have  been  varnished 129 

"        best  adapted  for  Anibrotypes 130 

"        proper  for  negatives m 47 

"        cleaning,  for  negatives 41 

"        to  hold,  after  cleaning 45 

Gun-cotton,  discovery  of 153 

"  preparation  of 159 

"  test  of  acids  employed  for 160 

"  to  wash  and  dry 160 

"  caution  in  preparing 203 

Hints  and  snggestions  on  positives  and  negatives 112,  206 

"           "           "           "          on  paper 117 

"           "             on  negatives 112 

History  of  Photography 19 

Hydro-bromic  acid,  to  prepare 1S7 

Hydrometer,  actino,  for  nitrate  of  silver  bath 136 

Hyposulphite  of  soda 219 

ofgold 219 

"           of  silver,  to  lest  its  presence  in  positives 107 

Iodine — its  preparation  and  properties 220 

Iodide  of  ammonia — its  preparation  and  properties 224 

"      of  potassium — its  preparation  and  properties 222 

"                    "        alcoholic  solution  of 183 

"      ofsilver — its  preparation  and  properties 223 

"           "        alcoholic  solution  of 183 

Iron  Photographs,  to  make 73 

Instantaneous  printing 101 

Imperfections  in  negatives 114 

"            in  positives 120 

Jewelry,  to  color,  on  Ambrotypes 168 

Lampratype  process 210 

Light,  to  arrange,  for  Ambrotypes 174 

"  "         for  negatives 45 


INDEX.  239 


PAGE 

Light  on  the  eyes,  to  arrange 17(5 

Litin-us — its  nature  and  properties 225 

Mnteiials  for  Ambrotypes,  in  finisliing 132 

Maeliinery,  to  copy,  in  Ambrotype ]7:J 

Manipulations  by  the  Ambrotype  process 146,  147, 148,  149,  150 

"  by  tlie  negative  process 41 

Mounting  Photograplis 67 

Melainotype  plates 169 

Negative  process,  theory  of  the 32 

"  practice  of  the 39 

Negatives  on  glass 40 

•'         definition  of 40 

"         on  glass,  to  take 41 

"         developing  solutions  for 43 

"         fixing  solution  for 44 

"         to  develop 43 

"         frames  to  liold 45 

"  the  color  of 54 

"         silvery  appearance  of 116 

Negative  bath,  the  practice  of  the 51 

"         •'        changes  of  the < 53 

'•        collodions,  to  prepare 81,  82,  S3 

Nitrate  of  silver  bath  for  negatives 48,  49 

"  "        preparation  of,  for  Ambrotypes 49 

"  "        to  iodize 49 

"  "        to  neutralize 137 

Nitric  acid — its  nature  and  properties 225 

Nitrate  of  potasli — its  nature  and'properties 226 

Nitrate  of  silver — its  nature  and  properties 226 

Old  collodion,  to  purify 106 

"  to  remove  water  from 106 

Pearl  Ambrotypes,  to  make 210 

Plates,  to  clean,  on  flat  board 120 

Plate-holders,  varnish  for 191 

Plates,  to  hold,  in  proper  position  147-143 

Plate-holders  necessary  for  Ambrotypes 125 

Patent-leather  process 155 

Patent,  Fox  Talbot's,  notice  of 22 

Plate-blocks  for  holding  glasses  126 

Plate-vise  for  holding  glxsses j IjiO 

Paper,  Photographic,  quality  of 117 


240  INDEX. 


PAGB 

Paper,  to  dry  salted 5S 

Practice  of  the  negative  process 89 

Printing,  instantaneous 101 

"        frames 109 

Prints,  to  restore  faded 102 

"        from  negatives 62 

"        positives  with  chloride  of  sodium  paper  and  pure  silver 29 

"               "       with  ammonia-nitrate  of  silver ,. ...   58 

Photographic  printing 56 

"  views 79-80 

"           process,  theory  of  the 30 

Photographs,  to  wash 65 

"            to  mount 67 

"           to  varnish 67 

"           to  print 56 

"           positive,  on  glass 29 

Photography — its  history  and  progress 19 

"             its  introduction  into  the  United  States 28 

"             chemicals  first  employed  in 20 

Pictures,  negative  and  positive,  on  glass  and  paper 31 

Positive  process,  theory  of  the 32 

"        fixing  the 63 

"        washing  the 65 

"        drying  the 67 

"        mounting  the 67 

"        printing  the 62-63 

Pyrogallic  acid,  solution  for  negatives 88 

Protosulphate  of  iron — its  nature  and  properties 224 

Quick  method  of  printing 93 

Kc-developing  processes 87,  90,  92 

Ketouching  negatives 113 

"            "           for  views 112 

"        positives  on  paper 1 19 

Eemoving  stains  from  the  hands 204 

"           "        from  linen  and  clothes 205 

Rehn's  recipe  for  Ambrotype  collodion 180 

Statuary,  to  copy,  in  Ambrotype 173 

Screens  and  backgrounds 175 

"      blue  and  white 177 

Stains,  to  remove,  from  the  hands 204 

"     to  remove,  from  clotlics 205 

Single  glaaa  process ; 161 


INDKX.  241 


PAGE 

Silver,  to  add,  to  negative  bath 52 

Silver  solution,  plain 59 

"  "         ammonia  nitrate 95 

Silver,  to  recover,  from  old  solutions 103 

Silvering  the  pnptr 5S 

Salting  solutions  for  paper 57 

Stereoscope  pictures,  to  make 75,  76,  77,  78 

"  pliilosopiiy  ol'the 76 

Stereoscopic  Ambrotjpes 152 

Skylight,  arrangement  of 174 

Spots  or  streaks  on  plates 115,  2U0 

Solutions,  developing,  for  Ambrotypes 141,  142,  143 

"  "  for  negatives 87 

Solution,  alcoholic,  of  iodide  of  potassium 1S6 

"  "  of  bromide  of  potassium 187 

"  "  of  iodide  of  silver lS:i 

"  "  of  bromide  of  silver 1S4 

"  "  of  bromo-iodide  of  silver 1S5 

Sulphuric  acid— its  nature  and  properties 228 

"  "       impurities  of 2J9 

"  "       test  of 229 

Treble  glass  process 153 

Transparent  and  opaque  spots 19S 

Toning  or  fixing  tlie  print 63 

"        bath  for  positives  on  jjaper 93,  94 

"  '•     for  iron  Photographs 74 

Transferring  Ambrotypes  on  paper 1 70 

Uncertainties  of  the  art 55 

Varnishing  the  pictures 152 

Varnishes,  to  prepare 1S9 

"          applying  the 192 

Varnish,  for  negatives 44 

"        new,  for  Photographs 102 

"        to  remove  superfluous 156 

"        thick  white,  instead  of  Canada  balsam 191 

"        used  instead  of  Canada  balsam 155 

"        white  copal 1$9 

"        gum-demar 190 

"        black  asphaltum ] 90 

"        white  of  .shellac  and  copal 190 

"        gum-shellac,  for  plate-holders 191 

Vocabulary  of  Photographic  chemicals 211 

21 


242  INDEX. 


PACB 

Washing  positive  prints 65,  66,  118 

"       the  positive  pictures 65 

Water,  properties  of 231 

'■      impurities  of 231 

"      distilled 231 

■Weislits  and  Measures,  tubles  of 233,  234 

Window-glass  for  negatives 47 


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